Editor’s Picks – Showbams

The 25 best live music acts of 2016

December 30, 2016 by The Bam Team 2 Comments

As we officially place 2016 in the history books, it’s time to look back at all the live music we experienced this year. Last year we shared our 25 favorite live performers of 2015, so this year we thought we would do it again while excluding any artists we named in 2015. After all, who really wants to see the same acts listed two years in a row? That said, now that we’re two years removed, our 25 favorite live performers of 2014 were once again fair game.

After covering many excellent bands, musicians and DJs over the past 12 months, trimming our list down to 25 wasn’t easy and as usual, some difficult decisions had to be made. Those who didn’t make the cut but still deserve to be mentioned here include the following artists, DJs and bands (in alphabetical order) whom we either covered at their own show and/or at a music festival this year:

Adrian Younge, Air, Alessia Cara, Alina Baraz, AlunaGeorge, Alvvays, The Arcs, A$AP Ferg, Atlas Genius, Aubrie Sellers, The Avett Brothers, Bag Raiders, Baio, Banks & Steelz, Bas, Battles, Beats Antique, Beach House, Best Coast, Big Freedia, Big Gigantic, Big Grams, Big Wild, Bloc Party, Bob Mould, The Boxer Rebellion, Brand New, Brett Dennen, The California Honeydrops, Capital Cities, Cate Le Bon, Chairlift, Chelsea Wolfe, !!! (Chk Chk Chk), Chris Robinson Brotherhood, Chuck Mosley, Chromeo, Claude VonStroke, The Claypool Lennon Delirium, Cold War Kids, The Crux, Dan Deacon, Danny Brown, Deftones, The Devil Makes Three, Dirtwire, Disclosure, DMA’s, DMX, Drew Holcomb and The Neighbors, Duran Duran, Every Time I Die, Emancipator Ensemble, Ezra Furman, Faith No More, The Faint, Fantastic Negrito, Femi Kuti, Florence + the Machine, Flume, Fruition, The Gaslamp Killer, Geographer, Glass Animals, Gorgon City, Grimes, Halsey, The Head and the Heart, Heartwatch, The Heavy, Highly Suspect, Hippie Sabotage, Holy Fuck, How to Dress Well, Hudson Mohawke, Hundred Waters, IAMX, Ibeyi, Ice Cube, Iggy Pop, The Infamous Stringdusters, Jack Beats, Jack Garratt, Jack Ü, James Bay, Jamie xx, J. Cole, Jimmie Vaughn, Jhené Aiko, The Joy Formidable, Joywave, Julia Holter, Julien Baker, Kaki King, Kamaiyah, Kamasi Washington, Kehlani, K.Flay, The Kills, Kurt Vile, Lafa Taylor, Lana Del Rey, Låpsley, Les Sins, Lettuce, Lionel Richie, Lord Huron, Little Scream, Lucius, M83, Major Lazer, Marian Hill, Mayer Hawthorne, MC YOGI, Methyl Ethel, Metric, Miami Horror, Mick Jenkins, Midi Matilda, Miguel Migs, Modest Mouse, Moon Taxi, M. Ward, Nahko & Medicine for the People, The Naked and Famous, Nas, Nathaniel Rateliff & The Night Sweats, Neon Indian, Nick Murphy (fka Chet Faker), Nite Jewel, Panic! at the Disco, Parliament-Funkadelic, Peaches, Petite Noir, The Pharcyde, The Polish Ambassador, Porches, Prince Rama, Purity Ring, Pusha T, Radiohead, Ra Ra Riot, The Regrettes, The Revivalists, RJD2, Rodrigo y Gabriela, Rogue Wave, Rubblebucket, Run the Jewels, The Russ Liquid Test, Ryan Adams, The Sam Chase & The Untraditional, Saosin, Sarah Neufeld, The Seshen, Shabazz Palaces, Shlohmo, Silversun Pickups, Snakehips, Solange, Son Little, St. Lucia, Stormzy, The Struts, STS9, Sturgill Simpson, Sufjan Stevens, Summer Cannibals, Sunflower Bean, Sigur Rós, St. Germain, Sylvan Esso, Tacocat, Taking Back Sunday, Tedeschi Trucks Band, Thao & the Get Down Stay Down, This Will Destroy You, Thomas Jack, Thundercat, Toro y Moi, Tortoise, Tory Lanez, Tourist, The Trims, Troye Sivan, Umphrey’s McGee, Viceroy, Vince Staples, Vokab Company, Walk the Moon, Warpaint, Wavves, Weezer, Wheeler Walker Jr., White Denim, Wild Belle, Wild Nothing, Years & Years, Yeasayer, YG, Young Fathers, Yuck, ZHU, Ziggy Marley.

Now, it’s time for The Bam Team to present our 25 favorite live performers of 2016.

The Bam Team’s 5 Favorite Shows, Albums & Songs of 2016

Listen to The Bam Team’s favorite songs of 2016:

25. Tycho

For as much as Epoch was a surprise, so were Tycho’s two most recent shows in LA last week. It was the first time Hansen and company had played The Fonda Theatre since the Awake tour back in 2014, and Thursday’s sellout, which was announced less than a week before the show, along with the subsequent need to add a second date the next night, made it clear that more than ever, Angelenos have a strong appetite for what Hansen is doing on both a musical and visual level. It helps, too, that KCRW Music Director Jason Bentley, who opened the shows at The Fonda with a DJ set, has helped expose Tycho to a broader audience, whether through the “Morning Becomes Eclectic” theme song or live, in-studio performances by the band. Even nowadays with an abundance of streaming sites, you can’t underestimate the power of radio in a city with a driving culture as large as LA’s. And truth be told, Tycho is some of the best music to drive to, especially when you’re surrounded by nature. -Josh Herwitt, photo by Josh Herwitt

24. Isaiah Rashad

And when it did, Rashad torpedoed onto stage and turned the restlessness in the room on its head with “Smile”, the apropos homecoming banger he released after years of uncertainty that followed his 2014 EP Cilvia Demo. It was fitting because prior to his reemergence, which was sparked by the song, Rashad admitted to being addicted to Xanax and alcohol, and it almost led to him being dropped from his West Coast record label on several occasions. From his issues with substance abuse to the tears he shed while listening to Kid Cudi’s music and his open-book thoughts on the humanizing of mental-health issues, Rashad’s journey from being the contemplative unknown in superstar Kendrick Lamar’s crew to a complete artist deserving of your attention has been steeped in honesty. -Joseph Gray, photo by Joseph Gray

23. Bob Moses

Needless to say, worn-out axioms failed to apply in this scenario. Bob Moses silenced anyone attempting to pass them off as yet another contrived electropop outfit aiming to please the masses. At Mezzanine, both Howie and Vallance proved their prowess as EDM innovators, bringing more to the stage than a couple of laptops and a pretty light show. Surprising those unfamiliar with their work or expecting to be underwhelmed, Bob Moses have elevated the live electronic game for their respective contemporaries and succeeded in defining a new chapter for the genre — an innovative sound standard that’s all their own. -Molly Kish, photo by Lisette Worster

22. Floating Points

The band continued building on its rhythms and melodies, creating a hypnotic feeling that was filled with textured synthesizers, guitar pedals and consummate percussion, as laser patterns reflected each rise and fall during its lengthy jam sessions. As Sheppard and his sidekicks progressed through each track, the complexity of the laser projections grew into optical illusions that, almost like another musical instrument onstage, intertwined with the style and progression of the band’s production perfectly. With each song reaching a climax and eventual denouement, the artwork remained untouched for a few minutes so that fans could observe each piece before their very own eyes. -Brett Ruffenach, photo by Alister Mori

21. Ty Segall

But Segall is no doubt a showman himself, and you’d be hard-pressed to find someone who expends as much energy onstage as he does in merely 90 minutes. His passion simply rubs off on his fans, who wasted little time climbing onstage and taking the plunge into a sea of hands for a couple of minutes. Segall, of course, also got in on the action at one point, as his shows are often known to feature crowd surfing from both band and audience members, and he made sure to take the mic stand with him while he horizontally slithered across the room. -Josh Herwitt, photo by Josh Herwitt

20. Dr. Teeth and The Electric Mayhem

One of the biggest questions on everyone’s mind coming into Outside Lands was, “Who were Dr. Teeth and The Electric Mayhem?” For those who knew, it was, “How in the hell were the Muppets going to fill a Sunday slot on the main stage?” Because the band had never played a show of such magnitude or outside the context of a TV/film studio, no one had any clue what to expect during this early-afternoon slot. Though some festivalgoers (mistakenly) decided to forego the experience altogether, those present will not forget the incredible feat that Another Planet Entertainment and Jim Henson Enterprises were able to pull off for what was one of the most emotionally nostalgic, blissfully complex and once-in-a-lifetime festival performances maybe ever. The Muppet house band both effortlessly managed to pluck the heartstrings of multiple generations of fans while delivering the most conceptually beautiful “love letter” to the city of SF, blanketing the grounds in a sea of love and collective euphoria for a brief, yet unforgettable moment. -Molly Kish, photo by Rochelle Shipman

19. RÜFÜS DU SOL

By the time RÜFÜS made their entrance, the excitement in the room was at a fever pitch. The crowd was ready to dance from the very first beat (thanks to the excellent warm-up from Kllo and Yuma X), and they did just that. Lead singer Tyrone Lindqvist took center stage with great energy and proceeded to do the customary water bottle toss shortly after. Lindqvist set the tone right from the get-go for a high-energy, high-audience-participation set. The crowd responded in kind by getting down much harder than expected for a Wednesday night. Notably, there were surprisingly very few phones out as most attendees put away their cameras to make the most of every song. The intimate setting of The Fillmore could almost have been mistaken for the polo fields of Coachella, given how many girls-on-shoulders could be seen around the venue. -Geoff Hong, photo by Josh Herwitt

18. Rudimental

Through Rudimental tracks like “Not Giving In”, “Free” and “Waiting All Night”, the most unique element of the group’s live production was their charisma. Simply put, they look like they’re having fun. These aren’t tortured artists or cathartic performers — Rudimental are a band that loves the music they make. Even the band’s drummer, Beanie, easily one of the hardest working rhythmists on tour right now, managed to keep a smile on his face, racing through Rudimental’s repertoire of songs that were anywhere from 145 to 160 BPMs. The septet’s de-facto leader, DJ Locksmith, was surprisingly more in the background than you would expect from a typical DnB hype man. As Rudimental wrapped up their set with their chart-topping hit “Feel the Love”, the crowd joined in as the song ended, creating a shared moment at The Fox that perfectly reflected the intention of Rudimental — to spread the love. -Brett Ruffenach, photo by Marc Fong

17. BØRNS

On this night, that proverbial phrase seemingly rang true. It wasn’t just that BØRNS most likely amassed the largest attendance in the history of the Twilight Concert Series, but also the fact that it was easily one of the best shows I’ve ever witnessed at the Santa Monica Pier. One could certainly point to the opening of the Expo Line extension as a reason for the larger crowds so far this summer, which wasn’t all that noticeable during the series’ opening night with Mayer Hawthorne just the week prior, but that would simply be underestimating the exponential rise of Garrett Borns’ eponymous project. Since he relocated to Los Angeles in 2013 and signed with Interscope Records, the Michigan native has gone from supporting modest indie bands like MisterWives to selling out shows as a headliner in a matter of a year. -Josh Herwitt, photo by Josh Herwitt

16. Flying Lotus

Brainfeeder founder, producer and unapologetic cultural mouthpiece Flying Lotus (born Steven Ellison) ended the night with a mildly controversial headlining set. Walking onstage and making what any FlyLo fan would recognize as an off-colored comment on the current presidential race may have proven too brazen for those not used to his brand. He let Captain Murphy out of the box a little early and road the wave of confusion into a heady, bass-driven assault on the conflicted crowd, providing the distinct audio punctuation point for the night’s bill of artists. Playing several tracks off of his 2014 LP You’re Dead! as well as various hits from high-profile hip-hop emcees like Travis Scott and Kendrick Lamar that he has produced over the years, Ellison stunned us all with his double-screen, audio-visual stage setup and plenty of bone-rattling bass drops. -Molly Kish, photo by Marc Fong

15. The Last Shadow Puppets

TLSP brought a strings section to their show, an added element that helped keep things fresh and new. The show began with the beautiful sounds of violins and cellos, but the moment TLSP got onstage, the whole floor at The Fillmore lit up in billows of smoke. I’m sure the band was stoned by the end of the show if it hadn’t been already, appearing beyond excited to be playing on a Sunday night in SF. Turner and Kane must have yelled out something about SF every few minutes and incorporated SF into some of their songs. They were so incredibly tight, and I felt their set in some ways was a bit better than what I had witnessed years ago — the mix and order of the songs felt more succinct at The Fillmore. -Rachel Goodman, photo by Diana Cordero

14. Miike Snow

Sunday’s roster at Coachella last year was significantly weaker in comparison to Friday’s and Saturday’s. This year was much of the same, though Calvin Harris somehow proved to be an even worse headliner than Drake (we didn’t know that was possible). But one of the bright spots on Day 3 was no doubt Miike Snow’s 9:45 p.m. slot in the Mojave Tent, the same place where I discovered the Swedish trio back in 2010 during my first Coachella. Andrew Wyatt, Christian Karlsson and Pontus Winnberg have come a long way since then, and with three studio albums in their catalog, including their latest effort iii, they have more than enough material to fill out a 50-minute set and leave you wanting to hear more. -Josh Herwitt, photo by Norm de Veyra

13. Young Thug

Fresh off releasing the latest — and final — installment of his Slime Season mixtape trilogy, Young Thug took his place on the stage. Arriving in a white blouse, multicolored sequined jacket, dark shades, a polka-dot head scarf and remarkably slim, golden pants, he aligned such a rangy and vibrant uniform with his performance. There wouldn’t be any towering LED lights, stunts or stage diving. However, Young Thug, who for the majority of his roughly hour-long set played the lone wolf, delighted the crowd with his animated and bright delivery while running through thundering Slime Season 3 favorites like “With Them”, “Digits” and “Slime Shit”. The audience, ranging from high school seniors to seasoned workers likely with mortgages, strikingly recited every uncanny, controversial lyric and Ric Flair-esque “Woo!” like they had been analyzing them for years. -Joseph Gray, photo by Joseph Gray

12. Pretty Lights

Touring with a live band for the first time in 2013 — something that few other EDM artists have done to this day — he quickly changed the way electronic music can be experienced live. Fast forward to last Thursday, and we were once again treated to an electrifying Pretty Lights show that was more than just Smith behind a pair of Macbook Pros and two Akai MPD32s. Making his debut at the majestic Santa Barbara Bowl, he once again showed why he isn’t your typical EDM act. With Chris Karns and Big Wild providing support, Smith hit the stage at 8 p.m. with his bandmates — Karns, Borham Lee, Brandon Butler and Alvin Ford, Jr. — and put on a show that dazzled both sonically and visually. What was most impressive, though, was seeing how much of the performance was improvised, as the band transitioned from one jam to another while dropping in a number of remixes here and there. And as I looked on from my seat in the stands, I couldn’t help but think about how much the show reminded me of all the times I’ve seen STS9 perform live. It only seemed fitting considering that the livetronia band helped give Smith his start back in the day, and with the “EDM bubble” about to burst (that is, if it hasn’t already), it’s hopefully an approach more electronic artists will gravitate toward in the future. -Josh Herwitt, photo by Josh Herwitt

11. Mac DeMarco

The 26-year-old king of slacker rock, who over the past few years has become a fan favorite of many Bay Area audiophiles, never seems to hold back when he comes to town. His first night in SF last week saw him jump from The Indy’s balcony into an awaiting crowd (a feat that was later imitated by a female audience member at The Warfield the next night), run around half naked while playing new songs and perform a 25-minute cover of Eric Clapton’s 1971 hit single “Layla” with fart solos sprinkled throughout. -James Pawlish, photo by James Pawlish

10. Moderat

Easily the most anticipated set of the weekend from this spectator’s vantage point, Moderat hadn’t toured since dropping a pair of EPs in 2014. But with the release of its third full-length album, aptly titled III, the Berlin-based supergroup comprised of Apparat’s Sascha Ring and Modeselektor members Gernot Bronsert and Sebastian Szary were primed to make their mark on the final day of LIB — and that they did. Beginning with “Ghostmother” off their latest LP, Moderat ran through a good chunk of new material, but nothing ignited the crowd more than their new single “Reminder”, which remains one of our favorite songs of the year so far. As we witnessed a few days earlier at The Fonda Theatre in LA, the group’s dark, minimalist stage setup with psychedelic flourishes paired nicely with Ring’s ethereal vocals. Of all the other performances throughout the weekend, Moderat’s 90-minute set undoubtedly stood as one of the brightest moments of LIB 2016. -Josh Herwitt, photo by Josh Herwitt

9. Foals

Foals closed out their rambunctious set with a killer take on the title track “What Went Down” that brought lead singer/guitarist Yannis Philippakis diving into the crowd, giving fans one hell of a selfie and proving their rock credentials for good. After all, any band that can unite 20-something bros with 50-something grandparents gets a gold star in our book. Rock brings people together, and those who made it out to see this unicorn of a band won’t live to regret it. -Zach Bourque, photo by Steve Carlson

8. Tame Impala

As they opened with the dream-inducing interlude “Nangs” from their latest studio album Currents, Tame Impala gave the crowd an ample minute and a half to commit to the spatial surroundings before jumping full throttle into an explosive rendition of lead single “Let It Happen,” playing the tracks in reverse order than they are on the LP. By the third song (as promised), the sky, having just turned black, was filled with a stadium’s worth of rainbow confetti as the band played the opening chords of 2012’s psuedo love ballad “Mind Mischief”. Followed by a rare performance — only the second time in three years — of “Music to Walk Home By” from 2012’s Lonerism, Tame Impala played a wide range of emotive classics while scrambling the brains of more than 8,500 audience members with their intense onslaught of sensory-overloading imagery and hypnotic light show. -Molly Kish, photo by James Pawlish

7. Jim James

James is in rare company these days, amid a dying breed of guitar-rock gods like Jack White and Josh Homme who are not only capable of playing anything on six strings, but also on a myriad of instruments. And while Eternally Even feels in some ways like an opportunity for him to finally experiment more with keyboards, James made sure to remind his fans at the 90-year-old Orpheum Theatre last Friday that shredding is still a priority. Performing in his new hometown after officially moving to LA this year, he assumed the role of lead singer for much of the show as he and his bandmates from Twin Limb (also opening for James on this tour) played all of Eternally Even and half of Regions. But propped up by a stand onstage the whole time was James’ black Gibson axe, and you knew at some point during a two-hour set that he was going to unload some sick riffs like we have become accustomed to seeing from him at Jacket shows. -Josh Herwitt, photo by Josh Herwitt

6. The National

The real headline from The National’s performance was hands down the new material that was debuted, pretty much across their entire set, encore included. A rather standard opening of “Don’t Swallow the Cap” and “I Should Live in Salt” led into our first taste of the band’s upcoming LP in the form of “Checking Out”. Though many locals likely recognized this track from last year’s Treasure Island Music Festival (read our review here), it has tightened up over the past year and even begins to sound familiar as the Brooklyn-based five-piece begins to weave in more electronic, synth-like elements. -Kevin Quandt, photo by Steve Carlson

5. Guns N’ Roses

There may have been no more talked-about act in Coachella’s 17-year history than Saturday’s headliner — and for good reason. Going back to 1993, it had been 23 years since Axl Rose and Slash last performed on the same stage together, and though some of that allure had worn off by the time they reached Indio thanks to a surprise show in LA and back-to-back nights in Las Vegas in prior weeks, Guns N’ Roses were still the talk of the town leading up to Coachella. In fact, all you had to do was look around on Saturday and see just how many GNR T-shirts were traversing the polo fields before their 10:30 p.m. set. When it came time to deliver, the original trio of Axl, Slash and bassist Duff McKagan most certainly did, while rhythm guitarist Richard Fortus and drummer Frank Ferrer proved to be more than suitable fill-ins for Izzy Stradlin and Steven Adler/Matt Sorum. Meanwhile, the surprise appearance by Angus Young couldn’t have come at a much better time after the announcement was made minutes before GNR’s set that Rose will be filling in for Brian Johnson on AC/DC’s remaining tour dates this year. GNR have always been one of my biggest bucket-list bands, and even if a broken leg prevented Axl from strutting and slithering across the stage like he once did as a brash, slender 21-year-old rock star, seeing one of my favorite childhood bands perform for two and a half hours felt all too surreal as I left the Empire Polo Club that night. -Josh Herwitt, photo courtesy of Coachella

4. Sia

From the very beginning, Sia set herself apart from every other artist who took the Coachella Stage this year. With the Australian artist standing in the back of the stage, her set was more performance art than it was pop music. While her face was hidden thanks to her trademark wig, Sia’s voice stood front and center as she belted out every note to hits like “Diamonds”, “Bird Set Free” and “Titanium”. Throughout it all, different dancers and actors would come on stage, abstractly embodying the themes her songwriting often conveys: fear, anticipation, stress, anger, joy, love and most of all, doubt. As Kristen Wiig and Paul Dano contributed to the overall performance, the height of Sia’s conceptual masterpiece reached its peak with a breathtaking rendition of “Breathe Me”, bringing some of the audience to tears. It was the true headliner of Sunday night and among the top performances of the entire weekend. -Brett Ruffenach, photo courtesy of Coachella

3. Chance the Rapper

In one of the few transcendent moments of the weekend, a set that had everyone throughout the fairgrounds hyped into an anticipatory frenzy, Chance the Rapper performed at the Lands End stage on Sunday afternoon for easily the largest crowd of the entire weekend. Even those who stood their ground through Third Eye Blind’s preceding set felt the drastic change in both crowd size and personal space as the polo fields flooded and temperatures rose. Even though Chance could have used this to his advantage and conducted an explosive show, igniting the tightly configured crowd into a combustive state, he instead took his fans “to church” with a spiritually centered gospel set, making sure everyone was attentive and of course, that “his part” resonated among the masses. -Molly Kish, photo by Norm de Veyra

2. LCD Soundsystem

Over the last couple of years, it’s hard to think of a band I have wanted to see more than LCD Soundsystem. Deeply tied to my formative years in college, the Brooklyn outfit’s return after a five-year hiatus was nothing short of stunning. Opening with the undeniably groovy “Us vs. Them” and covering a good chunk of their catalog over almost two hours, LCD certainly met the expectations of an eager crowd. James Murphy kept the banter between songs fairly short, and these indie heavyweights demonstrated a true dedication to their craft, starting fast with songs like “Movements” and “Yeah” before moving to more deep, tightly wound rhythms on “Someone Great” and “Home”. Though “Losing My Edge” was written more than 10 years ago, Murphy’s part-improvised, part-proclamation, part-perfectly-delivered rendition of the track seemed to really capture the attention of more casual LCD fans. Nearing the end of its set, the band covered “Heroes” by late collaborator David Bowie. I have seen many concerts as well as attended many festivals in my life, but this was truly among the most beautiful moments in live music I have ever experienced. Wrapping up their headlining performance with “All My Friends”, LCD Soundsystem proved to be among the top artists to ever grace the festival’s main stage. -Brett Ruffenach, photo by Norm de Veyra

1. Anderson .Paak

I’m going to be completely honest: I went to SXSW this year to see .Paak because I knew once he played it, tickets to his shows would be impossible to get. Six months later, $30 tickets to his show in San Francisco at The Fillmore resold for upwards of $400. If you didn’t have another way to get into that show or rent to pay, it was worth it. The energy that comes out of .Paak while he’s performing is charming, infectious and unmatched. He splits his time roaming every inch of the stage and behind his drum set, often singing and rapping without missing a beat. At .Paak’s December show at the Hollywood Palladium in LA, Stevie Wonder came out not to sing, but to tell the crowd what a big fan he is. So basically, Stevie Wonder dropped by. OK, Anderson … we see you. -Rochelle Shipman, photo by Norm de Veyra

Filed Under: Best of, Best of 2016, Editor's Picks, Featured Tagged With: A$AP Ferg, Adrian Younge, Air, Alessia Cara, Alina Baraz, AlunaGeorge, Alvvays, Anderson .Paak, Anderson .Paak & The Free Nationals, Atlas Genius, Aubrie Sellers, Bag Raiders, Baio, Banks & Steelz, Bas, Battles, BØRNS, Beach House, Beats Antique, Bernhoft and The Shudderbugs, Best Coast, Best of 2016, Big Freedia, Big Gigantic, Big Grams, Big Wild, Black Milk & Nat Turner, Bloc Party, Bob Moses, Bob Mould, Brand New, Brett Dennen, Capital Cities, Cate le Bon, Chairlift, Chance The Rapper, Chelsea Wolfe, CHK CHK CHK, Chris Robinson Brotherhood, Chromeo, Chuck Mosley, Claude VonStroke, Coachella, Coachella 2016, Coachella Music and Arts Festival, Coachella Music and Arts Festival 2016, Coachella Valley Music & Arts Festival, Coachella Valley Music & Arts Festival 2016, Coachella Valley Music and Arts Festival, Coachella Valley Music and Arts Festival 2016, Cold War Kids, Dan Deacon, Danny Brown, Deftones, Dirtwire, Disclosure, DMA's, DMX, Dr. Teeth and The Electric Mayhem, Drew Holcomb and The Neighbors, Duran Duran, Early November, Emancipator Ensemble, Every Time I Die, Eyes on the Shore, Ezra Furman, Faith No More, Fantastic Negrito, Fell Runner, Femi Kuti, Floating Points, Florence & the Machine, Flume, Flying Lotus, FOALS, Fruition, Geographer, Glass Animals, Gorgon City, Grimes, Guns N' Roses, Halsey, Heartwatch, Highly Suspect, Hippie Sabotage, Holy Fuck, How to Dress Well, Hudson Mohawke, Hundred Waters, Iamsu!, IAMX, Ibeyi, Ice Cube, Iggy Pop, Isaiah Rashad, J. Cole, Jack Ü, Jack Beats, Jack Garratt, James Bay, Jamie xx, Jhené Aiko, Jidenna, Jim James, Jimmie Vaughn, Joywave, Julia Holter, Julien Baker, k.flay, Kaki King, Kamaiyah, Kamasi Washington, Kehlani, Kurt Vile, Kurt Vile & The Violators, Lafa Taylor, Lana Del Rey, Lapsley, LCD Soundsystem, Les Sins, Lettuce, Lionel Richie, Little Scream, Lord Huron, Lucius, M. Ward, M83, Mac Demarco, Major Lazer, Marian Hill, Mayer Hawthorne, MC YOGI, Methyl Ethel, Metric, Miami Horror, Mick Jenkins, Midi Matilda, Miguel Migs, Miike Snow, Moderat, Modest Mouse, Moon Taxi, My Morning Jacket, Nahko & Medicine for the People, Nas, Nathaniel Rateliff & The Night Sweats, Neon Indian, Nick Murphy (fka Chet Faker), Nite Jewel, Oh Pep!, Oh Wonder, Panic! At The Disco, Parliament-Funkadelic, Peaches, Petite Noir, Porches, Pretty Lights, Prince Rama, Purity Ring, Pusha T, Ra Ra Riot, Radiohead, RÜFÜS DU SOL, Rin Tin Tiger, RJD2, Rodrigo y Gabriela, Rogue Wave, Rubblebucket, Rudimental, Run The Jewels, Ryan Adams, Saosin, Sarah Neufeld, Shabazz Palaces, Shlohmo, Sia, Sigur Ros, Silversun Pickups, snakehips, Solange, Son Little, St. Germain, St. Lucia, Stormzy, STS9, Sturgill Simpson, Sufjan Stevens, Summer Cannibals, Sunflower Bean, Sylvan Esso, Tacocat, Taking Back Sunday, Tame Impala, Tedeschi Trucks Band, Thao & The Get Down Stay Down, The Arcs, The Avett Brothers, The Boxer Rebellion, The California Honeydrops, The Claypool Lennon Delirium, The Crux, The Devil Makes Three, The Faint, The Gaslamp Killer, The Head and The Heart, The Heavy, The Infamous Stringdusters, The Joy Formidable, The Kills, The Last Shadow Puppets, The Lone Bellow, The Naked and Famous, The National, The Pharcyde, The Polish Ambassador, The Regrettes, The Revivalists, The Rubens, The Russ Liquid Test, The Sam Chase & The Untraditional, The Seshen, The Struts, The Trims, This Will Destroy You, Thomas Jack, Thundercat, Toro Y Moi, Tortoise, Tory Lanez, Tourist, Troye Sivan, Ty Segall, Tycho, Umphrey's McGee, Viceroy, Vince Staples, Vokab Company, Walk the Moon, Warpaint, Wavves, Weezer, Wheeler Walker Jr., White Denim, Wild Belle, Wild Nothing, Years & Years, Yeasayer, YG, Young Fathers, Yuck, zhu, Ziggy Marley

The Bam Team’s 5 Favorite Shows, Albums & Songs of 2016

December 29, 2016 by The Bam Team 1 Comment

Danny Brown at The Regency Ballroom // Showbams’ Photo of the Year, by James Pawlish

Time flies when you’re having fun, right? Well, while we’re still wondering where the past 12 months have went, 2016 proved to be bittersweet for the entire music community. With David Bowie, Glenn Frey, Paul Kanter, Phife Dawg, Merle Haggard, Prince, Leonard Cohen, Sharon Jones and most recently George Michael all leaving us too soon, it’s been a rough ride to say the least. But amid all the heartbreak, we experienced plenty of amazing moments in music from January to December, and now it’s time for us to once again unveil our annual “Best of” lists just like we did in 2015.

So, without further ado, Showbams presents The Bam Team’s five favorite shows, albums and songs from 2016.

The 25 Best Live Music Acts of 2016

Listen to The Bam Team’s favorite songs of 2016:

Jim James at Orpheum Theatre // Photo by Josh Herwitt

Josh Herwitt // Los Angeles

Top 5 Shows of 2016
1. LCD Soundsystem at Coachella Music and Arts Festival, Weekend 1 – Indio, CA – April 8th
When reports started swirling around this time last year that LCD Soundsystem would reunite to headline Coachella a few months later, it was a chance to relive that one time I saw them on the same polo fields six years earlier — the only time I was lucky enough to see James Murphy and company in action before they called it quits way too early. And while band reunions at Coachella are starting to feel like a gimmick these days, LCD had already played a couple of warm-up shows back home in New York by the time they stepped foot on the main stage for their highly anticipated headlining set at the Empire Polo Club. They didn’t perform any new material like some fans may have hoped they would, but rather a setlist laced with hits that also included their live debut of David Bowie’s “Heroes” as well as a nod to fellow headliner Guns N’ Roses. And as the final words to “All My Friends” left Murphy’s mouth that night, I walked away still buzzing from what I had just witnessed.

2. Radiohead at Shrine Auditorium – Los Angeles, CA – August 8th
3. Jim James at Orpheum Theatre – Los Angeles, CA – December 9th
4. Temple of the Dog at The Forum – Inglewood, CA – November 14th
5. Pretty Lights (Live) at Santa Barbara Bowl – Santa Barbara, CA – November 10th

Top 5 Albums of 2016
1. Moderat – III
With so many excellent albums being released each year, picking a favorite is never an easy task — but this year felt even more difficult than usual. And although I’ll admit I didn’t have time to hear every LP that dropped in 2016, it was hard not to choose Moderat’s latest studio effort after much thought and consideration. Time after time, I found myself coming back to III after countless listens. From the record’s opening track “Eating Hooks” to its initial single “Reminder”, the Berlin trio seems to get better and better with each release. As difficult as it can be to describe Moderat’s music, there’s something about the way Sascha Ring’s emotive vocals pair perfectly with the supergroup’s haunting melodies that makes III‘s repeatability incredibly strong. I guess the third time really is the charm for these three gents.

2. Jim James – Eternally Even
3. Anderson .Paak – Malibu
4. Radiohead – A Moon Shaped Pool
5. Kendrick Lamar – untitled unmastered

Top 5 Songs of 2016
1. Jim James – “Here in Spirit”
My Morning Jacket frontman Jim James often receives praise for his unique singing style, but the Louisville native’s songwriting chops remain equally impressive. On his sophomore solo album Eternally Even, James takes a more political stance than what he devised for his 2013 debut Regions of Light and Sound of God. What results is some of James’ most poignant and inspiring material to date, including the soulfully psychedelic cut “Here in Spirit” that bats third in the LP’s nine-track lineup. With lines like “No compromise / But willing to sacrifice / Believe what you want / Go on and be who you are / Go out and get what you want” to open the song, James empowers his listeners to not sit on the sidelines and instead, speak up for what they believe in. He might not be able to solve the world’s problems, but “Yim Yames” knows how to make you think about the issues that matter.

2. Moderat – “Reminder”
3. Glass Animals – “Youth”
4. Tycho – “Division”
5. Run the Jewels – “Legend Has It”

Brainfeeder at Fox Theater Oakland // Photo by Marc Fong

Molly Kish // San Francisco

Top 5 Shows of 2016
1. Brainfeeder at Fox Theater Oakland – Oakland, CA – September 15th
This showcase featuring artists from Flying Lotus’ label, including himself, was an experience to behold. No matter who you went to see on this night, eyes were opened and brains were fed — so to speak — thanks to the sonic diversions that continue to make Brainfeeder one of the most important players in shaping the future of music.

2. Danny Brown at The Regency Ballroom – San Francisco, CA – October 11th
3. James Blake at Fox Theater Oakland – Oakland, CA – October 17th
4. Erykah Badu at The Warfield – San Francisco, CA – November 15th
5. Black Madonna at Public Works SF – San Francisco, CA – November 18th

Top 5 Albums of 2016
1. Anderson .Paak – Malibu
Elevating the current state of hip-hop by ultimately bringing it back to its jazz roots, Malibu finally brought Anderson .Paak the credit he sorely deserved. The 16-track album boasts an intricately curated, eclectic roster of recording, production and songwriting talent. Easily the most important sophomore full-length release of the year, Malibu opened a brand-new door to a musical stratosphere that .Paak was born to commandeer.

2. Kendrick Lamar – untitled unmastered
3. Kanye West – The Life of Pablo
4. The Avalanches – Wildflower
5. A Tribe Called Quest – We Got It From Here… Thank You 4 Your Service

Top 5 Songs of 2016
1. Solange – “Cranes in the Sky”
Another career-skyrocketing release of 2016 that was introduced to the world through this single, “Cranes in the Sky” helped bring attention to “the younger Knowles sister” as a force to be reckoned with. Amidst a track list of powerful ballads and political anthems, this song delivers a personal testimony of introspection that humanizes Solange in a way most artists are too afraid to convey. The track, which was delivered through a series of avant-garde music videos, shook the world of modern soul and R&B with one of 2016’s most influential power moves.

2. Chance the Rapper – “All Night”
3. Blood Orange – “Best to You”
4. Kaytranada – “LITE SPOTS”
5. Flume – “Never Be Like You” feat. Kai

YG at The Wiltern // Photo by Joseph Gray

Joseph Gray // Los Angeles

Top 5 Shows of 2016
1. Kanye West at The Forum – Inglewood, CA – November 1st
Prior to its bizarre, abrupt ending that included a long-winded tirade critical of Beyoncé and some outspoken support for President-elect Donald Trump, Kanye West’s “Saint Pablo Tour” was a once-in-a-lifetime party. Seriously. In LA, the show featured a floating, illuminated and spaceship-like stage that traveled back and forth — while raging youngsters moshed below — to give everybody a great view of their favorite contradiction and/or superhero, who was later hospitalized due to a reported “psychiatric emergency.” With the elevated platform, a smiling and dancing West manned through his conflicts, happiness and faith, reminding us of why he provides the unmistakable feel-good vibes that only he can bring.

2. Young Thug at The Fonda Theatre – Los Angeles, CA – May 16th
3. Isaiah Rashad at Echoplex – Los Angeles, CA – November 14th
4. Jhene Aiko at Avalon Hollywood – Los Angeles, CA – November 21st
5. YG at The Wiltern – Los Angeles, CA – November 29th

Top 5 Albums of 2016
1. Anderson .Paak – Malibu
The unearthed gem on rap legend Dr. Dre’s long-awaited Compton opus a year prior, Southern California rapper, singer, songwriter and multi-instrumentalist (he really does it all) Anderson .Paak kicked open the door to his fully-formed world of warm, unbridled expressiveness and raspy soul with Malibu. Brilliantly combining funk and jazz-filled triumphs (“Come Down”) and hip-hop’s reflective grit (“The Season/Carry Me”) with distinct and sprawling elegance (“Room in Here”), .Paak unquestionably put his mark on 2016. A detailed dot (just like the one in .Paak’s moniker), you better not forget it because Malibu proved that you have to pay attention to everything his name is attached to.

2. A Tribe Called Quest – We Got It From Here… Thank You 4 Your Service
3. Young Thug – Jeffery
4. NxWorries – Yes Lawd!
5. Kanye West – The Life of Pablo

Top 5 Songs of 2016
1. A Tribe Called Quest – “We the People…”
In a year drenched in political prejudices and panic for many citizens in the U.S., Q-Tip roared through the darkness over the funkiest of synths: “We don’t believe you ’cause we the people / Are still here in the rear / Yo, we don’t need you.” A message that echoed even louder after the presidential election, one of the standouts tracks from their celebrated final LP We Got It From Here… Thank You 4 Your Service invigorates a culture seemingly under attack more than ever.

2. Anderson .Paak – “Come Down”
3. Kanye West – “Real Friends”
4. Anderson .Paak – “Room in Here” feat. The Game & Sonyae Elise
5. Kendrick Lamar – “untitled 07 | 2014 – 2016”

Radiohead at Outside Lands 2016 // Photo by by James Pawlish

Brett Ruffenach // San Francisco

Top 5 Shows of 2016
1. Kanye West at T-Mobile Arena – Las Vegas, NV – October 29th
In some ways, there’s an unspoken hierarchy to the live-concert experience. The structure is simple — the closer you are to the front of the stage, the better your experience is, the bigger the fan that you are. Only the “rail riders” are the truest fans. In my experience seeing Kanye West’s “Saint Pablo Tour” in Las Vegas — a performance that ended up being one of his last uninterrupted shows prior to a breakdown and a subsequent cancellation of several future dates — he not only completely destroyed the hierarchy, he reinvented what a concert can be. Under a floodlight-filled sky, he spent 90 minutes on a floating stage playing a nonstop show that brought out a level of hype in the crowd I’m not sure I’ve ever seen before. On the floor, underneath the stage, you are instantly a part of the performance. As the stage moved back and forth across the arena, West captured a sense of connection with fans, making it nearly impossible to not scream every damn word to every damn song. It was an emotional roller coaster filled with adrenaline (“Black Skinhead”, “Father Stretch My Hands”), joy (“Waves”, “Fade”), swagger (“Can’t Tell Me Nothing”, “Heartless”) and some transcendent moments so intense during reworked songs like “Only One” and “Ultralight Beam” that many in the crowd (myself included) couldn’t help but be brought to tears. I’ve never seen a concert like this one and will probably never see something like it again. But for those 90 minutes as I jumped and sang with my brothers and friends, there was no world outside of Kanye’s floating stage. It’s a memory that I will cherish for the rest of my life as Kanye proved to us there is no hip-hop artist in the world doing what he’s doing.

2. LCD Soundsystem at Coachella Music and Arts Festival, Weekend 1 – Indio, CA – April 8th
3. Beyoncé at Levi’s Stadium – Santa Clara, CA – May 16th
4. Tame Impala at Greek Theatre Berkeley – Berkeley, CA – September 3rd
5. Air at Outside Lands Music and Arts Festival – San Francisco, CA – August 6th

Top 5 Albums of 2016
1. The Avalanches – Wildflower
I really enjoy albums that can be experienced as one cohesive piece. Twelve years in the making, The Avalanches’ Wildflower is best experienced in one listen from start to finish. Using a near-plethora of samples from both ends of the musical spectrum, the Australian plunderphonics pioneers wove together a soundscape that’s not only textured and groovy, but also just plain old fun. From “Because I’m Me” and “Frankie Sanatra” to “Subways” and “If I Was a Folkstar”, the feel and experience of listening to Wildflower simply fills me with joy. After a year like 2016, it’s something we all needed.

2. Radiohead – A Moon Shaped Pool
3. Beyoncé – Lemonade
4. Anderson .Paak – Malibu
5. The Range – Potential

Top 5 Songs of 2016
1. Radiohead – “Present Tense”
In a serene moment watching Thom Yorke and Co. play a live rendition of “Present Tense” at Outside Lands, I first thought to myself that this may be one of Radiohead’s best tracks. Ever. Their stripped-down rendition featuring Johnny Greenwood solidified that thought. “Present Tense” seems to capture all of the things I find most appealing about Radiohead: complex and beautiful chord progressions, subtle and complimentary percussion, and melancholy lyrics and ambient sounds creating a sense of space that no other band I know is capable of producing in a studio or on a stage. It’s an introspective song that blooms into a plea for a return to what was once had with “in you I’m lost …” That melody gives me goosebumps every time.

2. Blood Orange – “Best to You”
3. Brian Eno – “Fickle Sun (iii) I’m Set Free”
4. Hundred Waters feat. Chance the Rapper – “Show Me Love”
5. DJ Shadow feat. Run the Jewels – “Nobody Speak”

Anderson .Paak at South by Southwest 2016 // Photo by Rochelle Shipman

Rochelle Shipman // Los Angeles

Top 5 Shows of 2016
1. Anderson .Paak & the Free Nationals at South by Southwest – Austin, TX – March 18th
Anderson .Paak played 13 shows in three or four days at SXSW this year. The Pandora show was one of his last ones, so he and his bandmates had their set down to blind perfection and played their hearts out to 150 new fans as the sun went down. Austin was falling in love with .Paak right in front of his eyes, electrifying his performance and even bringing him down into the audience to crowd surf. When he wasn’t behind the drums, he spent the rest of the show dancing on the monitors in between the barrier and the stage, seemingly as close to is fansh as possible. He was just grateful to be there, and it spilled from every ounce of his body. I’m going to be completely honest: I went to SXSW this year to see .Paak because I knew once he played it, tickets to his shows would be impossible to get. Six months later, $30 tickets to his show in San Francisco at The Fillmore resold for upwards of $400. If you didn’t have another way to get into that show or rent to pay, it was worth it. The energy that comes out of .Paak while he’s performing is charming, infectious and unmatched. He splits his time roaming every inch of the stage and behind his drum set, often singing and rapping without missing a beat. At .Paak’s December show at the Hollywood Palladium in LA, Stevie Wonder came out not to sing, but to tell the crowd what a big fan he is. So basically, Stevie Wonder dropped by. OK, Anderson … we see you.

2. Conor Oberst at The Cathedral Sanctuary at Immanuel Presbyterian Church – Los Angeles, CA – December 17th
3. Chance the Rapper at Outside Lands Music and Arts Festival – San Francisco, CA – August 7th
4. Islands at Masonic Lodge at Hollywood Forever Cemetery – Los Angeles, CA – June 9th
5. Animal Collective at Scala – London, UK – September 8th

Top 5 Albums of 2016
1. Anderson .Paak – Malibu
Anderson .Paak has put out a lot of material, even before he was Anderson .Paak and went by Breezy Lovejoy. There are gems sprinkled throughout his early releases, but his latest studio album has a funky backbone that lets .Paak explore aspects of his range that he never shared before. It resulted in a rhythmic, emotional journey that’s flirty, genre-defiant and fun as fuck. Malibu nearly ruined music for me because nothing else is it.

2. Vince Staples – Prima Donna
3. Conor Oberst – Ruminations
4. Gallant – Ology
5. Noname – Telefone

Top 5 Songs of 2016
1. Childish Gambino – “Redbone”
I like Childish Gambino. I’ve always liked Childish Gambino. But the first time I heard his song “Redbone”, every hair on my body stood up and started grooving. It happened the second time and the third time, and even the 643rd time. And this dude is singing about peanut butter chocolate cake with Kool Aid, but because of how he’s singing about it, it’s somehow OK. I made a playlist with only this song on it 20 times over and it was still too short.

2. Anderson .Paak – “The Waters”
3. Sonder – “Too Fast”
4. Danny Brown – “Really Doe” feat. Kendrick Lamar, Ab-Soul & Earl Sweatshirt
5. Mac Miller – “Dang!” feat. Anderson .Paak

Tame Impala at Greek Theatre Berkeley // Photo by James Pawlish

Andrew Pohl // San Francisco

Top 5 Shows of 2016
1. The Cure at Shoreline Amphitheater – Mountain View, CA – May 26th
I saw a ton of amazing shows this year, but seeing The Cure for the first time on my birthday topped them all. For more than three hours I got to catch Robert Smith and company churn out hit after hit, and hanging out with some of my best mates only added to the splendor. A setlist that spanned their entire career on a beautiful evening was just what I needed for my 38th trip around the sun.

2. Tool at Bill Graham Civic Auditorium – San Francisco, CA – January 7th
3. At the Drive-In at The Warfield – San Francisco, CA – June 4th
4. Tame Impala at Greek Theatre Berkeley – Berkeley, CA – September 3rd
5. Temple of the Dog at Bill Graham Civic Auditorium – San Francisco, CA – November 11th

Top 5 Albums of 2016
1. A Tribe Called Quest – We Got It From Here… Thank You 4 Your Service
This is the album that we needed, and it was delivered at the right time, in the right way. For a year that had taken so much away from the music world, ATCQ surprised everyone with an LP that delivered a vibrant, thoughtful and politically charged gift to the masses. No guys, thank YOU for your service (RIP Phife Dawg).

2. Mitski – Puberty 2
3. David Bowie – Black Star
4. Mall Walk – Funny Papers
5. Tycho – Epoch

Top 5 Songs of 2016
1. David Bowie – “Lazarus”
Oh, Bowie … even on the eve of your own passing, you knew how to pull out all of the stops and push your art to the limit. A true showman and artist to the end, this song encapsulates all that is raw, beautiful and bizarre about our beloved Ziggy Stardust. Its somber tone is met with a sexy, sinister groove, which leaves you with a sense of unease and is honestly perfect in my opinion. Thank you, sir. RIP.

2. Bob Moses – “Tearing Me Up”
3. Savages – “Evil”
4. Zack de la Rocha – “digging for windows”
5. Deep Sea Diver – “Secrets”

Filed Under: Best of, Best of 2016, Editor's Picks, Featured Tagged With: A Tribe Called Quest, Ab-Soul, Air, Anderson .Paak, Animal Collective, At the Drive-In, Best of 2016, Beyonce, Bill Graham Civic Auditorium, Blood Orange, Bob Moses, Brainfeeder, Brian Eno, Chance The Rapper, Childish Gambino, Chris Cornell, Coachella, Coachella 2016, Coachella Music and Arts Festival, Coachella Music and Arts Festival 2016, Coachella Valley Music & Arts Festival, Coachella Valley Music & Arts Festival 2016, Coachella Valley Music and Arts Festival, Coachella Valley Music and Arts Festival 2016, Conor Oberst, Danny Brown, David Bowie, Deep Sea Diver, DJ Shadow, Earl Sweatshirt, Flume, Flying Lotus, Fox Theater Oakland, Gallant, Glass Animals, Greek Theatre Berkeley, Guns N' Roses, Hollywood Forever Cemetery, Hundred Waters, Islands, Jim James, Kanye West, Kaytranada, Kendrick Lamar, LCD Soundsystem, Mac Miller, Mall Walk, Masonic Lodge, Masonic Lodge at Hollywood Forever Cemetery, Mitski, Moderat, My Morning Jacket, Noname, Orpheum Theatre, Outside Lands, Outside Lands 2016, Outside Lands Music Festival 2016, Parliament-Funkadelic, Pearl Jam, Pretty Lights, Radiohead, Run The Jewels, Santa Barbara Bowl, Savages, Scala, Shoreline Amphitheatre, Shrine Auditorium, Solange, Sonder, Tame Impala, Temple of the Dog, The Avalanches, The Cathedral Sanctuary at Immanuel Presbyterian Church, The Cure, The Forum, The Range, The Warfield, Tool, Tycho, Vince Staples, Zack de la Rocha

Chris Robinson Brotherhood put the pedal to the metal at LA’s newest home for jam bands

December 23, 2016 by Josh Herwitt Leave a Comment

By Josh Herwitt //

Chris Robinson Brotherhood //
The Fonda Theatre – Los Angeles
December 17th, 2016 //

Back when MTV was in its heyday, I remember seeing the music video for The Black Crowes’ “Hard to Handle” routinely flash across my television screen. It was my first memory of the now-defunct Southern blues-rock band fronted by Chris Robinson, whose soulful croon for nearly 25 years helped the Crowes sell more than 30 million albums.

But despite all of their success together, Robinson and his younger brother Rich often didn’t see eye to eye. That’s why after two separate hiatuses, The Black Crowes made it official late last year, announcing that they were done once and for all.

For Robinson, the breakup signaled an opportunity for him to focus primarily on his other project, the eponymous Chris Robinson Brotherhood that formed several years earlier and leans more heavily toward the West Coast jam scene that the Grateful Dead pioneered than the feel-good rock ‘n’ roll that The Black Crowes were well-known for fostering in the 90’s.

At this point, CRB are a well-oiled machine. With five LPs — including two this year in Any Way You Love, We Know How You Feel and If You Lived Here, You Would Be Home By Now — under its belt, the five-piece has established itself as one of the hardest-working bands out there, both in the studio and on the road.

With the release of If You Lived Here, You Would Be Home By Now in early November, CRB had already been up and down the West Coast for a couple of weeks by the time they arrived in the city where the group was formed. It was a unusually cold, winter night in LA last Saturday, as Robinson (lead vocals, guitar) and his fellow bandmates — Neal Casal (guitar, vocals), Adam MacDougall (keyboards, vocals), Tony Leone (drums) and newest addition Jeff Hill (bass) — walked onstage at The Fonda Theatre for the very first time.

After all, since CRB formed in 2011, the El Rey Theatre has served as their LA home, like it has for many jam-related acts. But over the past year, The Fonda has reasserted itself as the venue for jam bands. Both Lotus and Galactic have made the move, with each scheduled to perform at the 1,200-person venue that’s changed its name a handful of times in February.

The Fonda, on this night, appeared to serve CRB well, well enough to mix in their newest material like “Roan County Banjo” and “New Cannonball Rag” off If You Lived Here, You Would Be Home By Now with covers of The Byrds’ “Lazy Days” and Robinson’s past solo project New Earth Mud. There were cuts from Any Way You Love, We Know How You Feel, particularly during the band’s second set as CRB plowed through “Ain’t It Hard but Fair”, “Leave My Guitar Alone” and “Forever as the Moon” before wrapping up with “Narcissus Soaking Wet”, which opens the eight-track record that reached as high as No. 118 on the Billboard 200.

CRB are among a rare breed of bands. With Robinson’s roots in Georgia despite moving to California more than 20 years ago, there’s still a Southern quality to his music. His unique voice puts you at ease, and although guitar is still fairly new to him, you wouldn’t know it from the way his playing jives so seamlessly with Casal’s. Yet, as a Marin County resident where friends Phil Lesh and Bob Weir also live, you can see where Robinson’s allegiances have started to lie. Intertwining elements of psychedelic rock, blues and jam, CRB are an amalgamation of Robinson’s many influences. Maybe no better example of that was their cover of swamp rocker Tony Joe White’s “Saturday Night in Oak Grove, Louisiana”, which showed up as “Saturday Night in L.A.” on the setlist. So, as Robinson and company closed with their own rendition of The Velvet Underground’s “Rock & Roll” that had fans singing along to the words Lou Reed once wrote back in 1970, it felt like a good way to celebrate a Saturday night in LA.

Set 1: Lazy Days (The Byrds cover), Roan County Banjo, Badlands Here We Come, Clear Blue Sky & The Good Doctor, Sunday Sound (Chris Robinson & New Earth Mud cover), Meanwhile in the Gods…, California Hymn, Saturday Night in L.A. (officially titled “Saturday Night in Oak Grove, Louisiana”) (Tony Joe White cover)

Set 2: Rosalee, New Cannonball Rag, Ain’t It Hard but Fair, Reflections on a Broken Mirror, Leave My Guitar Alone, Forever as the Moon, I Ain’t Hiding (The Black Crowes cover), Narcissus Soaking Wet > Rosalee reprise

Encore: Rock & Roll (The Velvet Underground cover)

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: Chris Robinson, Chris Robinson Brotherhood, New Earth Mud, The Black Crowes, The Fonda Theatre

GOODFest hits Oakland with an All-Star lineup featuring Solange & Fantastic Negrito

December 22, 2016 by Molly Kish Leave a Comment

Solange

Photos by Jared Stossel // Written by Molly Kish //

GOODFest feat. Solange, Fantastic Negrito //
Starline Social Club – Oakland
December 16th, 2016 //

‘Tis the season for charity concerts and incredible one-off performances that benefit causes in need of extra attention and support right now. Hit incredibly hard by the unfathomable Ghost Ship tragedy that occurred earlier this month, Oakland has been home to quite a few of these events. Though the pain ran deep throughout the community, the heartbreaking loss brought out the best in those who were directly and indirectly affected by the fire.

Scheduled almost serendipitously during a jam-packed week full of relief benefits, charity auctions and various shows dedicated in memory to those involved in the Ghost Ship fire, a completely separate but equally amazing charity show was scheduled at Oakland’s Starline Social Club. Aptly called GOODFest, the benefit series focused on two community-organized programs located in Oakland and New Orleans.

Fantastic Negrito

Emcee’d by Glynn Washington, the host of NPR’s “Snap Judgement,” the night featured performances by up-and-coming local talent Kelsey Lu, Grammy-nominated funk-fusion outfit Fantastic Negrito and Album of the Year contender Solange Knowles. Interspersed between sets, representatives from both organizations — New Orleans’ Son of a Saint and Oakland’s Ella Baker Center — opened up about their experience and involvement in their respective causes.

All of the artists spoke before and after their performance, sharing their personal anecdotes and sentiments to enhance the evening. They addressed their own connection to the events that recently transpired in Oakland as well as the current state of national affairs that have loomed heavily over the past few months. In a room of no more than 100 people, the energy was tangible. Everyone there knew they were part of something special, and while most fans seemed to be processing the magnitude of the situation in their own way, the resounding fact that you were there for a reason bigger than the moment was unanimous.

Filed Under: Editor's Picks, Featured, Photos Tagged With: Fantastic Negrito, GOODFest, Solange, Starline Social Club

In his new hometown, Jim James reminds us why he’s one of the most gifted songwriters out there

December 16, 2016 by Josh Herwitt 1 Comment

By Josh Herwitt //

Jim James with Twin Limb //
Orpheum Theatre – Los Angeles
December 9th, 2016 //

If you want to know what’s been on Jim James’ mind lately, just listen to his new album Eternally Even. The frontman and primary songwriter for My Morning Jacket released his sophomore solo LP last month slightly prior to Election Day, and it’s by far his most political effort yet in his ongoing quest to promote worldwide peace, love and equality.

In that regard, you might think James Edward Olliges Jr. sounds like a modern-day hippie. Sure, Jerry Garcia is one of his many heroes (at least according to this Instagram post), but with all the turmoil at home and abroad right now, James’ message remains a particularly important one that each of us should apply to our own lives. Because no matter what your political beliefs are, we can all agree that the world needs more compassion and empathy, right? In the new world order of President-elect Donald Trump, it certainly couldn’t hurt.

But for as inspiring as James’ lyrics are on Eternally Even, it’s his songwriting that shines through brightest. While his debut solo album Regions of Light and Sound of God had its moments, it lacked the cohesiveness that the Louisville native’s latest studio work offers. From the opening notes of “Hide in Plain Sight” to the closing title track, the record flows seamlessly from start to finish — and no song embodies that better than the two-part “We Ain’t Getting Any Younger” (sadly, we aren’t). Neither is James, and yet, at age 38, he has become one of today’s most prolific and gifted songwriters. Between his work in MMJ, indie-folk supergroup Monsters of Folk (with Conor Oberst and M. Ward) and the Dylan-inspired collective known as The New Basement Tapes (featuring Elvis Costello, Marcus Mumford and more), it’s incredible that James even has the time to take on another side project, let alone make an album that sounds as good as Eternally Even does in “a couple weeks” from what he told LA Weekly.

In a similar vein, James’ propensity for live covers extends far outside the realm of MMJ, and at the Orpheum, we were treated to his own renditions of The Velvet Underground’s “I’m Set Free” and Parliament’s “Come in Out of the Rain”. He even gave a nod to the New Multitudes, which James formed alongside Jay Farrar, Will Johnson and Anders Parker to commemorate Woody Guthrie’s 100th birthday. But no cover resonated more with the crowd than The New Basement Tapes’ “Down on the Bottom”, as James demonstrated why his guitar playing can transfix a near-religious experience for celebrity fanboys like Christopher Mintz-Plasse (who plays the character “McLovin” in the 2007 movie “Superbad”) only a few rows away from me.

As he has done for most of this tour, James wrapped things up with a forewarning about our growing dependence on technology in the form of “State of the Art (A.E.I.O.U.)”, ripping into one last guitar solo to the sound of cheers from the audience. It was the perfect way to cap off a performance that mixed James’ psychedelic tendencies — his knack for getting weird, if you will — and his undying appreciation for soul music. That sonic marriage ultimately lays a lot of the groundwork for Eternally Even, with James paying homage, whether purposely or not, to his other musical heroes, be it Marvin Gaye or Bill Withers. And although James may not be quite there yet as far as stature goes, we just might look back on him in the same way one day.

Setlist:
Hide in Plain Sight
Know Til Now
Same Old Lie
In the Moment
A New Life
The World’s Smiling Now
True Nature
Dear One
Here in Spirit
I’m Set Free (The Velvet Underground cover)
We Ain’t Getting Any Younger Pt. 1
We Ain’t Getting Any Younger Pt. 2
Eternally Even

Encore:
Changing World (New Multitudes cover)
Of the Mother Again
Come in Out of the Rain (Parliament cover)
Down on the Bottom (The New Basement Tapes cover)
State of the Art (A.E.I.O.U.)

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: Jack White, Jim James, Josh Homme, Monsters of Folk, My Morning Jacket, Orpheum Theatre, Queens of the Stoneage, Twin Limb

Nick Murphy shows he’s the new-and-improved version of Chet Faker to close out 30 Days in LA

December 7, 2016 by Josh Herwitt Leave a Comment

By Josh Herwitt //

Red Bull Sound Select – 30 Days in LA: Nick Murphy (fka Chet Faker) //
The Theatre at Ace Hotel – Los Angeles
November 30th, 2016 //

When Nick Murphy dropped his debut LP Built on Glass (read our review here) under the alias “Chet Faker” in 2014, the Australian singer-songwriter was relatively unknown outside of his home country.

Sure, his cover of Blackstreet’s “No Diggity” reached No. 1 on the Hype Machine charts and made an appearance in a Super Bowl commercial, but Murphy’s popularity had been mostly confined to the land Down Under, with a list of accolades including “Breakthrough Artist of the Year” at the Australian Independent Records Awards and “Best Independent Release” at the Rolling Stone Australia Awards.

Built on Glass changed all of that, paving the way for Murphy to sell out shows in major U.S. markets, including two in LA at The Roxy Theatre (read our review here). With the 12-track album boasting three singles — one of them being “Talk Is Cheap”, which shot all the way to No. 1 in the 2014 Triple J Hottest 100 countdown — the Melbourne native was quickly headed for mainstream status.

Since then, he has made an appearance on “Ellen” and this year headlined music festivals up and down California, including CRSSD Festival (see more photos here) as well as Lighting in a Bottle (read our festival review here), where he reaffirmed that moving to a full live band was one of the best career moves he has made. In fact, ever since his set on the main stage at FYF Fest (read our festival review here) in 2015, Murphy has taken his live show up a few notches.

The Theatre at Ace Hotel

But that was a different person; Chet Faker is now a man of the past. Nearly two months ago, Murphy made the announcement on Twitter, revealing that “there’s an evolution happening and I wanted to let you know where it’s going.” It was his way of telling us that he no longer wanted to hide behind the moniker he spun off in reference to famous jazz trumpeter Chet Baker. From here on out, his real name would be attached to his music. And as cheesy and cliché as it might be for a musician to change their identity for artistic reasons, Nick Murphy — the one who sold out another show in LA last Wednesday — is an extension of Chet Faker more than anything else. Call him Chet Faker, Nick Murphy or whatever name you want — it doesn’t change the fact that the 28-year-old Aussie always pours his heart and soul out when he’s onstage.

At The Theatre at Ace Hotel, the gorgeously ornate, Spanish Gothic-style movie house built in 1927 and owned by United Artists, Murphy put a stamp on Red Bull Sound Select’s 30 Days in LA, which after only three years is becoming a November staple for the city’s booming music scene. From opening night with Sampha at the Palace Theatre to Murphy’s series finale just a few blocks down Broadway, Red Bull continues to seemingly outdo themselves year after year with a month full of shows featuring top-notch talent at an affordable rate (all tickets were $15 or less before taxes and fees).

But unlike many of the series’ other shows, Murphy didn’t just hit the stage for an hour and call it a night. Instead, his 90-minute set extended past midnight as he dove into newer cuts — “Bend”, “Stop Me (Stop You)” and “Fear Less” — from his forthcoming sophomore studio album (release date TBA) and played older hits like “1998” and “Gold” off of Built on Glass. There were also guest appearances by Marcus Marr, the English DJ/producer whom Murphy worked with on last year’s collaborative EP Work, and Dave Harrington, the Brooklyn-based multi-instrumentalist who is best known for being one half of the now-on-hiatus electronic music duo Darkside that includes Nicolas Jaar. Murphy might be filling seats thanks to his uniquely soulful voice, but it’s his propensity to surprise that keeps them filled at bigger venues each and every time he performs in LA.

Murphy’s music, both new and old, can be difficult to describe. It’s equal parts electronic, rock and soul, a hybridization that accessibly encompasses all three genres. And while his latest material follows along a similar sonic path, Murphy continues to prove that he isn’t afraid to take risks with his honest, heartfelt songwriting. So, who really needs Chet Faker when you got Nick Murphy now anyway?

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: 30 Days in LA, Ace Hotel, Chet Faker, Dave Harrington, Marcus Marr, Nick Murphy, Nick Murphy (Chet Faker), Red Bull Sound Select, The Theatre at Ace Hotel

Lucky to be alive, YG is celebrating life to the fullest

December 6, 2016 by Joseph Gray 1 Comment

By Joseph Gray //

Red Bull Sound Select – 30 Days in LA: YG //
The Wiltern – Los Angeles
November 29th, 2016 //

“They knew the code to my gate. That was awkward. Answer this: I got a million dollars. Who shot me?”

Before asking the million-dollar question, YG was wheeled onto the stage at The Wiltern in a stretcher covered by the haunting sounds of the real-life news reports from the night a bullet from an unknown assailant pierced his hip during a recording-studio shooting last year. The pitch-black building became illuminated with surgeons on an LED screen as we re-lived the “operation” on the Compton rapper. Nevertheless, YG assured the crowd this wouldn’t be a somber affair, rapping through paranoia toward the heavens with the brash resiliency and expanding maturation that’s led him to one of rap’s most improbable rises.

Did YG’s homies set him up? Was it the guy he knocked out during a past fight? Did a girl he was sleeping with tell her boyfriend about YG’s studio hideout due to fear? All of these still unanswered questions flow through the heart of the song “Who Shot Me?” This serves as the vivid crux of YG’s sophomore LP Still Brazy (released in June) and the opener for arguably the biggest name of Red Bull Sound Select’s 30 Days in LA series.

“Damn, I ain’t know it was gon’ happen like this … But I guess God has some other plans for me. ‘Cause that shit ain’t stop me,” recalls YG at the end of the song.

It was a thankful and brazen declaration extremely fitting for the 26-year-old who is still driving at top speed but maneuvering in directions many didn’t imagine. YG (born Keenon Daequan Ray Jackson) wasn’t expected to be here, let alone serve as the driving force in the resurgence of gangsta rap. It’s not too often that a major debut album comes 4-5 years after a breakout single, but such was the case for YG after the playfully crass “Toot It and Boot It” came and went without much of a follow-up from Def Jam. However, YG leaned on the same things he used to charm a horde of anxious fans drenched in red attire to match their favorite Blood rapper: self-awareness, survival and a new-age, authentic look into LA’s culture, with equal celebrations for the lucky-to-get-by days and champagne-spilling nights making for something we can all relate and party to.

This concoction, tied to an undeniably formidable rapper-producer connection with LA native DJ Mustard, helped form YG’s 2014 debut My Krazy Life that was a half-decade/lifetime in the making. A first-class concept album that offered some perspective to those who were unable to avoid gang life’s abyss, YG picked up where Grammy winner Kendrick Lamar left off with his own views on the “Hub City,” which has become a global name in the process.

With his mind-bending suspicions briefly on hold, YG jumped back into the now-welcomed madness that proceeded it. He treated the crowd to the gigantic “BPT” before confessing — like all of us spectators — “I Just Wanna Party”, the standout track from My Krazy Life that features Top Dawg Entertainment’s ScHoolBoy Q and Jay Rock. While neither TDE member was in the house, that didn’t put a damper on the night’s energy or YG’s willingness to visit Bompton for as long as possible.

Playing to the Bloods’ longstanding vernacular — replacing C’s with B’s — that he has made mainstream, YG then went into “Bicken Back Being Bool”, showcasing how he can turn a robbery on an average day into something we can all boogie to. YG may never be mistaken for the world’s greatest lyricist, but he has a knack for sharp storytelling — something even the secret service had to take notice of during this past election season.

An ever-present voice and face of the streets, YG isn’t taking anything lightly. Police brutality and racial injustice are getting the same relentless attention that his escapades with women previously would, and that’s something the U.S. government can attest to.

This narrative was highlighted by “FDT”, the anti-Donald Trump anthem featuring LA rapper Nipsey Hussle that has grown even more relevant after this year’s U.S. presidential election. The secret service forced some slight edits to the record after some calls to Def Jam threatened its release, but that certainly hasn’t stopped YG’s momentum.

For evidence, look no further than his roaring hometown concertgoers at The Wiltern. This contingent included several who were randomly plucked from the audience — even the ones whom YG joked looked “like they work at Facebook” — to take turns beating a Donald Trump piñata before Bay Area rapper G-Eazy surprisingly appeared to rap his verse on the remix.

If extended album delays, a near-death experience and government censorship can’t stop YG, I don’t know what can. And neither does he.

Setlist:
Who Shot Me?
BPT
I Just Wanna Party
Word Is Bond (with Slim 400)
Twist My Fingaz
Really Be (Smokin N Drinkin)
My N***a
Toot it and Boot It
Left, Right
Don’t Tell ‘Em (Jeremih tease)
Why You Always Hatin’?
Who Do You Love?
Still Brazy
FDT (with G-Eazy)

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: 30 Days in LA, DJ Mustard, G-Eazy, Red Bull Sound Select, The Wiltern, YG

Jhené Aiko turns a hometown show at Avalon into her own living room party

November 28, 2016 by Joseph Gray 1 Comment

By Joseph Gray //

Red Bull Sound Select – 30 Days in LA: Jhené Aiko //
Avalon Hollywood – Los Angeles
November 21st, 2016 //

Jhené Aiko really, really, really didn’t want to leave her home.

A rare, chilly breeze hawked through LA, but it wasn’t that or the pre-Thanksgiving traffic preventing the alluring Ladera Heights singer-songwriter from avoiding La Brea Ave. or the 101 freeway. Most of the city’s residents would empathize with either headache, but when you’re enjoying an ambiance-filled dwelling with a harp, cello, drums, stylish candles and feathery smoke all while being surrounded by some of your closest friends on a bunch of plush couches and bean bags, it becomes even more understandable.

Lucky for Aiko (and more importantly for us as spectators), Red Bull Sound Select decided to double their duties as a temporary moving company. Ever the gracious host, she was more than agreeable to the modification, welcoming her new hometown friends to a cozy world decorated with special guests and blue party cups of engaging melodies for a living room “jam” that will not be soon forgotten.

While much of Red Bull Sound Select’s annual 30 Days in LA series focuses on providing a platform for up-and-coming artists, Hollywood’s historic and spacious club Avalon offered a whole different feel for the fully formed Aiko. With tie-dyed merchandise of Aiko’s face being sold inside and self-embroidered shirts being hustled outside, the show felt surprisingly big, unforeseen only because Aiko’s music — delicate, sly and often vulnerable — is not what you would imagine ringing throughout the multilevel venue that routinely hosts DJs with frenetic and flashy light shows to entertain raging partygoers. On this night though, it was perfect.

Slipping to the front of her foggy living room a little after 10 p.m. to excited screams, Aiko tucked away any of those doubts into a satiny topcoat while also keeping her footing atop slow-dripping piano keys. Kicking things off with “New Balance”, she patiently explored unexpected love on the fan-favorite opener that she was pushed to release in August by TWENTY88 collaborator and G.O.O.D. Music rapper Big Sean.

It’s been said that it’s not a true house party until the arrival of unexpected guests. There are those you turn the music down for before escorting out and those whom you hand the mic to in order to keep things going, and Aiko opted for the latter in sticking with the theme of the night. Big Sean, the Detroit emcee and second half to her conceptual relationship, joined his rumored real-life beau as the two traded pleasant yearnings, playful remarks, embraces and back-and-forth vibes during their onstage collaboration that was highlighted by “On the Way” from Aiko’s self-titled studio album, which was released earlier this year.

Despite her soothing and beautifully gentle voice, Aiko’s music is not just seeped in ballads of love found or love lost. Sex, infidelity, drugs, encouragement, motherhood and more subjects fuse together to produce a great sense of relatability to her audience, which she played to by having intimate and good-natured conversations with the audience during her hour-long set. The evening was capped off with more fun in the form of R&B singer Omarion’s “Post to Be” featuring Aiko and Grammy winner Chris Brown, who emerged onstage with his signature pizzazz for a slowed-down acoustic version of the platinum smash.

This, like the rest of Aiko’s performance, was backed by a badass band, as each member took turns soloing to keep the good energy flowing all night. Between standout songs “Comfort Inn Ending (Freestlye)”, “The Worst” and “The Vapors” (which Long Beach rapper Vince Staples joined her for) from her Sail Out EP and its LP predecessor Souled Out, her living room party also became a lesson in welcoming the complex rewards and penalties of susceptibility.

Jhené Aiko with Big Sean

“Maybe I have made mistakes and been through my fair share of pain. But all in all, it’s been OK, I’ve lived well,” Aiko sang, flashing a slight smile that matched the evening’s appreciative vibe over “Eternal Sunshine”.

Nevertheless, prior to kicking us out, Aiko wanted to make sure we got home safely.

“I stay up all night for you, I’m a trooper. Call and request, I pick up, pull up quick as Uber,” said Aiko, turning the aggressive line from her recently released and sensual single “Maniac” into a PSA for concertgoers to make sure they find a safe way to get home.

And before we left, Aiko gave out gift bags in the form of song requests from the crowd as she morphed into an old-school lounge singer. Stepping back into the cold air before hopping into an Uber, my driver asked me where I was coming from.

“The coolest house party I’ve been to in a while,” I told him.

Setlist:
New Balance
Living Room Flow
Déjà Vu (TWENTY88 cover) (with Big Sean)
On the Way (TWENTY88 cover) (with Big Sean)
Comfort Inn Ending
W.A.Y.S.
Eternal Sunshine
Bed Peace
WTH
Vapors (with Vince Staples)
Drunk Texting / Post to Be / Drunk Texting Breakdown (with Chris Brown)
Maniac
The Worst

Encore:
Space Jam

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: 30 Days in LA, Avalon Hollywood, Big Sean, Chris Brown, G.O.O.D. Music, Jhené Aiko, Omarion, Red Bull Sound Select, TWENTY88, Vince Staples

After touring with Sia, AlunaGeorge have never been more well-suited to succeed than now

November 28, 2016 by Josh Herwitt Leave a Comment

By Josh Herwitt //

Red Bull Sound Select – 30 Days in LA: AlunaGeorge with Xavier Omär //
The Belasco – Los Angeles
November 22nd, 2016 //

If you haven’t heard of AlunaGeorge, there’s a good chance you’ve probably heard them on the radio and just didn’t know. But it probably wasn’t one of their own songs that you heard. Nope, it was more than likely from another English electronic duo by the name of Disclosure.

For plenty, Disclosure’s 2013 hit “White Noise” off their debut LP Settle was the first exposure they had to the namesake of vocalist/songwriter Aluna Francis and producer/instrumentalist George Reid. And though their very first single “You Know You Like It” reached as high as No. 13 on the Billboard Hot 100 thanks in part to DJ Snake’s remix for “The Amazing Spider-Man 2” boosting the song’s popularity, AlunaGeorge had yet to have a bonafide pop song in their arsenal until brothers Howard and Guy Lawrence enlisted Francis’ pipes a few years ago.

Since then, Francis and Reid together have released two full-length albums, including most recently I Remember as the follow-up to 2013’s initial offering Body Music. While their latest studio effort sees them expanding horizons with some guest spots — something they didn’t endeavor on Body Music — from New Orleans-born rapper Pell, Chinese-American electronic musician/singer ZHU and Jamaican dancehall emcee Popcaan on lead single “I’m in Control”, the loudest roar from the healthy crowd at LA’s Belasco Theater last Tuesday came when they dropped the popular Disclosure track toward the middle of their hour-long performance.

Despite the show being scheduled right before a holiday weekend, it was still billed as one of the premier events for Red Bull Sound Select’s 30 Days in LA series this month and rightfully so. AlunaGeorge, in fact, were coming off their most important string of dates having served as one of two opening acts (the other being Miguel) on the North American leg of Sia’s 2016 arena tour. So, after gracing the stage at the world-famous Hollywood Bowl this fall, Francis and Reid had no reason to be intimidated by the Belasco’s main theater room. If anything, it only gave them the freedom to showcase some of their songs under a new and different light.

As we reached the midway point of their set with back-to-back singles from I Remember (the title track and “My Blood”), AlunaGeorge entered unchartered territory as they welcomed Pell and a three-piece brass band onstage to help them perform “Full Swing” live for the first time. It was a fitting way to wrap up a tour after months and months of both festival dates and club gigs all around the world, stretching the scope of electronic music with merely an element or two of surprise sprinkled into the equation. Because on this night, whether many attendees had heard of them or not, AlunaGeorge did everything they could to help them not forget.

Setlist:
Mediator
Your Drums, Your Love
I’m in Control
Automatic (ZHU cover)
White Noise (Disclosure cover)
My Blood
I Remember
Full Swing (with Pell) (with brass section)
Heartbreak Horizon (with brass section)
Not Above Love (with brass section)
Hold Your Head High
Mean What I Mean
You Know You Like It

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: 30 Days in LA, AlunaGeorge, Belasco Theater, Disclosure, Pell, Popcaan, Red Bull Sound Select, Sia, The Belasco, The Belasco Theater, Xavier Omär, zhu

With dignity and grace, Pusha T stays true to himself

November 23, 2016 by Joseph Gray Leave a Comment

By Joseph Gray //

Red Bull Sound Select – 30 Days in LA: Pusha T with Boogie //
The Belasco – Los Angeles
November 16th, 2016 //

“Thinking back on it, it really was all a set up. You were setting me up to be the solo artist I never saw myself as.”

This week, G.O.O.D. Music President and rapper Pusha T (born Terrence LeVarr Thornton) graciously reflected on his life of six years ago, when he was summoned to Hawaii for six months as part of label founder Kanye West’s brain trust of inspiration. The outcome of the famed recording sessions and basketball games became My Beautiful Dark Twisted Fantasy, West’s fifth studio album that brilliantly pits the Grammy winner’s defiant indestructibility against his haunting burdens as he returned from self-imposed deportation stemming from his infamous acceptance-speech interruption at the MTV Video Music Awards.

A powerful declaration set to wide-ranging and rich stadium sounds while not forgetting hip-hop’s basement essentials, West’s album also served as the perfect opportunity for the younger of the Thornton brothers — who together formed the rap duo Clipse — to share his brash, relentless talents with the world.

This opportunity and eventual partnership has not gone forgotten on Pusha T, who, prior to posting an open letter on Instagram to West (now reportedly in the hospital after cutting his latest tour short) on the six-year anniversary of MBDTF, took the stage at the Belasco Theater last Wednesday night as part of Red Bull Sound Select’s 30 Days in LA series with a similar graciousness as the headlining act he’d never imagined he would be.

“It’s always love when I come to LA. LA was always riding with me,” said Thornton, the veteran Virginia Beach-raised lyricist who unconventionally showed up earlier than we expected. Following Compton emcee Boogie’s warm hometown vibes, Pusha — with his signature braids, ad-libbing snarl, sweat pants and panther-embroidered jean jacket — proceeded to get comfortable and get to it.

There were no illuminated, floating stages to hover above a raucous mosh pit like West exhibited on his Saint Pablo tour. No maniacal dances or broads in Atlanta like rapper Desiigner frequently flaunts. No special guests like you’d often find at Big Sean’s shows. Unlike some of his labelmates, Pusha T opted to deliver us a PSA instead of a surprise, sending a reminder that this is what rappers are supposed to look like.

Not in the vein of the get-off-my-lawn emcees who shun everything that sounds different from their era, Pusha has embraced being a rapper’s rapper, refusing to deviate from the ease that he displays in combining vivid storytelling with a cloak of brazen confidence — an attribute new UFC two-division champion Conor McGregor would likely approve of. The performance proved to be a double-edged sword because while the Pusha T fan in me gladly recited witty rhyme after witty rhyme, the casual fan looking for big thrills may have been underwhelmed.

Fortunately, the larger percentage of concertgoers fell in line with the former, scrunching their faces in approval as President Pusha ran through “Crutches, Crosses, Caskets”, “M.P.A.” and more from his sophomore solo LP King Push – Darkest Before Dawn: The Prelude. The show’s early highlights came during “Numbers on the Board” and
“Nosetalgia”, the head-nodding, boom-bap standouts from his debut standalone album that showcase Pusha at his very best.

“20-plus years of selling Johnson & Johnson. I started out as a baby-face monster. No wonder there’s diaper rash on my conscience,” rapped Thornton, giving his LA fans the metaphorical opener they had been waiting for. This preceded the all-encompassing highlight when he took time for a brief Clipse homage with the classic “Grindin'” and the Future and Pharrell-assisted “Move That Dope” before turning his attention to the “toast for the douchebags” that changed his life.

While refusing to sing as the recognizable piano keys grew louder, the crowd happily obliged in assuming West’s echoing duties before Pusha joined the party, rapping the standout verse on “Runaway” that he acquired by being as greedy to work as he was thankful. Promising that new albums from him and the rest of label were on the way, Pusha, if anything, made it clear on this night that his appetite for more will not be diminishing anytime soon.

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: 30 Days in LA, Belasco Theater, Big Sean, Clipse, Desiigner, Future, G.O.O.D. Music, Kanye West, Pharrell, Pusha T, Red Bull Sound Select, The Belasco, The Belasco Theater

Five female emerging artists you need to hear

November 22, 2016 by Krystal Beez Leave a Comment

Written by Krystal Beez //

Get familiar with these five female emerging artists.

1. CHARLOTTE CARDIN

Who: Charlotte Cardin

Origin: Montreal, Canada

What she’s about: If you’re in need of a new artist who effortlessly blends electronic textures with classic soul and jazz, close your eyes and put on Charlotte Cardin’s music. Just 21 years old, the French-Canadian singer placed in the top four on the Canadian TV talent show “La Voix” in 2013. Two years later, she released her first EP Big Boy on Cult Nation, in which she sings in both English and French. After watching this live version of the title track, I can’t wait for Cardin to begin touring outside of her home country. The lyrics, the voice and the music — Cardin has everything she needs to be a star. Watch the video below for the latest release from the EP, which features rapper Husser.

File next to: Amy Winehouse. James Blake. Billie Eilish.

Follow: Facebook. Soundcloud. Twitter. Spotify.

2. SHURA

Who: Aleksandra Lilah Denton

Origin: Manchester, England

What she’s about: Aleksandra Denton, better known by her stage name Shura, first stepped onto the scene two years ago with her single “Touch“, which gained positive traction across the blogosphere. It’s is a languid, bittersweet song beautifully capturing that post-break-up moment. “Touch” would later be released featuring a version with Talib Kweli while Shura was also a longlisted nominee for the BBC Sound of 2015. Over the summer, she dropped her debut LP Nothing’s Real on Polydor Records. What I love about Shura is her ability to create songs that sound like they’re pop songs from the 80’s or 90’s while still sounding fresh and new. Watch the video for “What’s It Gonna Be?” below (I’ll wait while you dance it out).

File next to: Lapsley. HONNE. Mura Masa.

Follow: Facebook. Soundcloud. Twitter. Spotify.

3. BIBI BOURELLY

Who: Badriia Ines Bourelly

Origin: Berlin, Germany

What she’s about: At the age of 22, Badriia Ines Bourelly is a fresh face. She is multi-talented (prior to releasing her own material she was featured on a Lil Wayne track, an Usher track and wrote both Rihanna’s “Bitch Better Have My Money” and “Higher”) and has an ego. Bourelly is now signed to Def Jam Recordings and releasing her own material. Many of her songs touch on ambition, society and honesty. It’s very refreshing to see such a young female artist be so frank and unapologetic with her lyrics. Bourelly’s new EP Free the Real (Pt. #2) is available now everywhere. Don’t sleep on this rising star.

File next to: LEON. Jorja Smith. Rihanna.

Follow: Facebook. Soundcloud. Twitter. Spotify.

4. TKAY MAIDZA

Who: Takudzwa Victoria Rosa Maidza

Origin: Adelaide, Australia

What she’s about: Another young star on the up and up is Tkay Maidza, who first stomped onto the scene in 2013 with “Brontosaurus” at the age of 17. Since then, she has worked with SBTRKT, Martin Solveig and Killer Mike, supported Troye Sivan and Charli XCX on tour and released her debut album last month. While her danceable blend of hip-hop and electronic music might remind you of M.I.A., Maidza has a distinct flow, sound and presence all on her own. I recently saw her perform live. If you get the chance to see her, do yourself a favor and do it. She glows onstage while simultaneously setting it off, so it’s easy to see why Maidza is Australia’s hip-hop sweetheart.

File next to: Santigold. M.I.A. SAFIA.

Follow: Facebook. Soundcloud. Twitter. Spotify.

5. ANNE-MARIE

Who: Anne-Marie Nicholson

Origin: Essex, United Kingdom

What she’s about: Anne-Marie Nicholson has previously worked with Gorgon City, Magnetic Man and Rudimental. Now signed to Rudimental’s label Major Toms, she has embarked on a solo career. Her music is a beautiful blend of hip-hop, R&B and pop with soulful energy. I’m still jamming out to her first solo single “Do It Right” — and her second single is just as good. Check out a live version of “Alarm” from the Live Lounge at BBC Radio One below, and keep an eye out for her debut album that’s due out later this year. Random fact: She’s a three-time world karate champion. Talk about a multitalented artist!

File next to: Jessie J. Dua Lipa. Zara Larsson.

Follow: Facebook. Soundcloud. Twitter. Spotify.

Who is your favorite emerging artist? Let us know in the comments section below!

Filed Under: Editor's Picks, Featured, New Music Tagged With: Anne-Marie, Bibi Bourelly, Charlotte Cardin, New Music, Shura, Tkay Maidza

Isaiah Rashad makes a statement at Echoplex while giving fans a lesson in reverse psychology

November 21, 2016 by Joseph Gray Leave a Comment

By Joseph Gray //

Red Bull Sound Select – 30 Days in LA: Laneway Presents Isaiah Rashad with Mansionair, Sampa the Great //
Echoplex – Los Angeles
November 14th, 2016 //

Isaiah Rashad is a liar. On the surface that sounds absurd, considering how unregretful the Chattanooga, Tenn., emcee is about wearing his desires, anxiety and near self-demise on his sleeves. Hundreds of restless LA-area residents who were at Echoplex last Monday can vouch for my improbable story, though they’d also probably say how happy they were to be duped by the Top Dawg Entertainment (TDE) member.

On this night, as part of Red Bull Sound Select’s 30 Days in LA series, Rashad, TDE’s talented outlier, was originally scheduled to arrive onstage around 10:20 p.m. Yet, nearly an hour later, fidgety concertgoers were still jockeying for position in the darkened Echoplex tucked under an overpass not far from downtown LA.

With liquid courage taking over one attendee as he attempted to start altercations during anxious “Zaywop” (Rashad’s nickname) chants for the 25-year-old, there was a brief reprieve coming in the form of Mansionair, a Sydney-based band that mixed exceptional vocals with sweet electro-soul, culminating in a cool surprise as they brought out a full choir to perform with them for the first time ever. Despite the well-liked appetizer that came after Sampa the Great’s passionate set, the apprehension for more was palpable until Rashad’s DJ emerged, signaling it was almost time for the real fun to begin.

From his issues with substance abuse to the tears he shed while listening to Kid Cudi’s music and his open-book thoughts on the humanizing of mental-health issues, Rashad’s journey from being the contemplative unknown in superstar Kendrick Lamar’s crew to a complete artist deserving of your attention has been steeped in honesty.

One song down and beads of sweat already dripping down his face, Rashad nevertheless promised that despite the frenzy that Sampa the Great and Mansionair created, his show in support of his latest release The Sun’s Tirade wouldn’t be too crazy. That, though, couldn’t have been more of a lie.

Manipulating fans of all ages with a nimble flow that was heightened to match the crowd’s energy, Rashad excitedly took us to the same place where his reflections have led him during his two-year hiatus. And not to be outdone by a couple of surprises, but he brought out rapper Hugh Augustine for “Tity and Dolla” before he really took things up another level.

The latter revelation came in the form of songstress SZA, Rashad’s TDE labelmate who assisted, danced and caused a near trampling of excited women near the stage as the two bounced smiles off each other while performing “Stuck in the Mud”. Folks were more than appeased at this point, but the good vibes kept on coming.

“Wop! 4r Da Squaw, dog?! Where’s 4r Da Squaw?!”

One spectator in the audience let me move in front of him to photograph Rashad with the promise that I’d switch spots during “4r Da Squaw”, a shared album favorite about growth which was repeatedly requested after Rashad finished each song. Considering it’s more of a slower-paced song, I wasn’t sure the young fan would get his wish during Rashad’s hour-long set, but soon after the guest appearances by Augustine and SZA, I made good on my promise when “4r Da Squaw” finally came on.

Even though Lamar was not in attendance on this night, Rashad let the crowd fill in for the Grammy winner during his rapid-fire guest spot on “Wat’s Wrong”. And when Lamar’s verse got to the part about his desires to vandalize President-elect Donald Trump’s headquarters, the left-leaning crowd erupted as expected.

Moving the focus toward a vote all could agree on, Rashad called for his groovy single “Free Lunch” to christen his feel-good show. Soon after, more “Zaywop!” chants would resume, this time beckoning Rashad to return for an encore, but when they eventually went unanswered, fans dispersed knowing their patience was still well worth the wait.

Setlist:
Smile
Brenda
Soliloquy
Cilvia Demo
R.I.P. Kevin Miller
Tity & Dolla (with Hugh Augustine)
Heavenly Father
Rope // Rosegold
Menthol
Nelly
Stuck in the Mud
Ronnie Drake (with SZA)
Warm Winds (with SZA)
4r Da Squaw
Find a Topic (Homies Begged)
A Lot
Wat’s Wrong
Free Lunch
Park
m.A.A.d. city (Kendrick Lamar cover)

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: 30 Days in LA, Isaiah Rashad, Laneway Presents, Mansionair, Red Bull Sound Select, Sampa the Great

The ‘EDM bubble’ may be bursting, but Pretty Lights remains a beacon of hope at the Santa Barbara Bowl

November 17, 2016 by Josh Herwitt Leave a Comment

By Josh Herwitt //

Pretty Lights (Live) with Big Wild, Chris Karns //
Santa Barbara Bowl – Santa Barbara, CA
November 10th, 2016 //

Amid the myriad of tragedies that the music industry has endured in 2016, one of the major talking points has been the future of electronic dance music. EDM, as the kids like to call it these days, experienced a meteoric rise just a few years ago as laptops replaced turntables and guitars, transforming DJs into music’s newest and biggest rock stars with multimillion-dollar residencies in Las Vegas and headlining slots at music festivals all around the world.

But in the last eight months, the genre’s sustainability has started to be called into question, with several media outlets predicting that the EDM boom will soon come crashing down. One well-known music website, for instance, published an in-depth look at EDM’s demise back in April, already declaring it a thing of the past with a title like “Popping the Drop: A Timeline of How EDM’s Bubble Burst.” Soon after, LA Weekly followed suit, continuing the conversation with their own piece on why an industry worth $6.9 billion only a year ago has fallen so fast. Of course, it should also be noted that Forbes was the first to tap into the subject, exploring how the proliferation of EDM festivals in the U.S. hasn’t always equaled massive payouts for some concert promoters.

Still, for a culture born out of the UK’s underground rave scene, it shouldn’t be too surprising to hear that the EDM business has reached its ceiling. From simply a spectators’ point of view, watching someone entertain an audience with a computer and a mixer can only be engaging for so long, even if the song selection and stage production are superb (it can also depend on if any mind-altering substances were ingested at the time). That’s not to say dance music can’t or won’t survive. As oversaturated as the market is right now, there will always be a thirst for music that can make you move — it’s more that the genre will continue to evolve in new and different ways. And if there’s one electronic artist whom others should look to for inspiration, it’s unquestionably Pretty Lights.

Praised by legendary record producer Rick Rubin as “the face and voice of the new American electronic music scene,” Derek Vincent Smith started out making music under his Pink Floyd-inspired moniker with his close friend and frequent collaborator Michal Menert more than a decade ago. But unlike so many of his contemporaries, the Colorado native was carving his own path in his early 20’s. Influenced by hip-hop groups from the Beastie Boys and A Tribe Called Quest to Wu-Tang Clan and The Roots, Smith got his big break opening for jam bands like Sound Tribe Sector 9 (STS9), The Disco Biscuits and Widespread Panic at their late-night, after-party shows. Employing a colorful patchwork of hip-hop breakbeats and soul samples to build the foundation for his tracks, Smith’s process as well as his music in many ways felt like an extension of the classic trip-hop that DJ Shadow pioneered in 1996 with his seminal debut LP Endtroducing….. and RJD2 (read our interview with him here) later furthered on his initial studio album Deadringer.

Pretty Lights’ rise to stardom didn’t happen overnight. Releasing his music for free on his own record label Pretty Lights Music, it took years for Smith to build the worldwide following that he has today. Yet, what has always made him more than just merely a “DJ” or a “producer” is his propensity for incorporating live instrumentation into his live performances. By the time he began touring in 2007, he had enlisted drummer Cory Eberhard to join him for a run that would eventually include important U.S. festival appearances at Coachella and Ultra in 2010. Smith would go on to replace Eberhard with Adam Deitch, and while Deitch’s commitment to his other projects (Break Science, Lettuce) has curtailed his involvement in more recent years, he served as a key ingredient during the recording sessions for 2013’s A Color Map of the Sun, which earned a Grammy nomination for Best Dance/Electronica Album.

Since then, Smith has made a conscious effort to bring other talented musicians into the fray. Touring with a live band for the first time in 2013 — something that few other EDM artists have done to this day — he quickly changed the way electronic music can be experienced live. Fast forward to last Thursday, and we were once again treated to an electrifying Pretty Lights show that was more than just Smith behind a pair of Macbook Pros and two Akai MPD32s. Making his debut at the majestic Santa Barbara Bowl, he once again showed why he isn’t your typical EDM act. With Chris Karns and Big Wild providing support, Smith hit the stage at 8 p.m. with his bandmates — Karns, Borham Lee, Brandon Butler and Alvin Ford, Jr. — and put on a show that dazzled both sonically and visually. What was most impressive, though, was seeing how much of the performance was improvised, as the band transitioned from one jam to another while dropping in a number of remixes here and there. And as I looked on from my seat in the stands, I couldn’t help but think about how much the show reminded me of all the times I’ve seen STS9 perform live. It only seemed fitting considering that the livetronia band helped give Smith his start back in the day, and with the “EDM bubble” about to burst (that is, if it hasn’t already), it’s hopefully an approach more electronic artists will gravitate toward in the future.

Setlist:
Still Night Jam
Maybe Tomorrow
Time Remix
One Day They’ll Know > ODESZA Remix > Break Science Remix
Let The World Hurry By
So Much In The Dark
More Important Than Michael Jordan
Bombay Bump
Total Fascination > Jam
Understand Me Now > Jam
Cold Feeling > Jam > Remix
There Is a Light
Jam
Where I’m Trying to Go tease
More Important Than Michael Jordan tease
I Can See It In Your Face > Jam
High School Art Class

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: Big Wild, Chris Karns, Coachella, Coachella Music and Arts Festival, Coachella Valley Music & Arts Festival, Coachella Valley Music and Arts Festival, Disco Biscuits, DJ Shadow, Michal Menert, Pretty Lights, Pretty Lights Music, RJD2, Santa Barbara Bowl, Sound Tribe Sector 9 (STS9), STS9, Widespread Panic

Treasure Island Music Festival 2016: The Good, The Bad & The Muddy

October 25, 2016 by Molly Kish 2 Comments

Photos by Josh Herwitt & Lisette Worster // Written by Molly Kish //

Treasure Island Music Festival //
Treasure Island – San Francisco
October 15th-16th, 2016 //

Treasure Island Music Festival “raged the island” one last year and went out in a weekend of epic highs and tempestuous lows. Experiencing 2016’s most chaotic storm so far, festivalgoers and organizers were faced with some of the harshest conditions the boutique festival has ever faced. Beyond the obstacles Another Planet Entertainment and Noise Pop had going into the weekend with a new location, “no parking” restrictions and a few lineup changes, the added surprise element that Mother Nature tossed into the mix made for an experience to remember.

Here are the best, worst and most muddied (good ideas that ultimately went wrong) moments of TIMF 2016.

THE GOOD

Ice Cube

The Headliners

Battling against the unfavorable conditions, both of the weekend’s headliners reclaimed the festival in the eye of the storm each night by delivering unforgettable performances for their dedicated fans. Accompanied by original members of NWA on Saturday night, Cube gave a career-spanning set that gave the most weather-weary attendees the energy to participate in his aggressive call-and-response classics. Bay Area hip-hop fans danced through what was some light drizzle, screaming “Fuck Ice Cube” while getting down with family, friends and fellow hardcore rap enthusiasts. Generations of Cube fans could be witnessed sharing in a truly memorable moment, where despite the ridiculousness of the entire day leading up to that set, all inconveniences were briefly forgotten while the crowd’s collective love for the Westside reigned supreme. Icelandic post rockers Sigur Rós, meanwhile, closed things out Sunday night in epic fashion with a rare SF performance, wrapping up two wet and muddy days on the island.

Accessible Ride-Share Options

While parking on the island was a no-go this year — festivalgoers were given the looming “you’ll be ticketed/towed” warning — TIMF was sure to ramp up their shuttle services and even have a ride-share loading zone available for commuter’s utmost convenience. In past years, tracking down Uber, Lyft or a taxi on the island was a real nightmare. With little to no signage, mystery addresses and a street grid, even local residents find the island confusing. However, in the midst of the Bay Area’s largest storm so far this year, TIMF made sure that what used to be the most aggravating part was a breeze.

The Crowd

Throughout the years, TIMF has cultivated a fan base whose attitude, interests and diversity truly elevates the festival experience. Becoming more of a congregation of friends over the past decade, the intimate setting and impeccably curated lineup has solidified an audience that returns to the island equally as excited for each and every installment. Even with rough weather conditions, a new location and a number of other things to gripe or complain about, the crowd remained hilariously positive. Groups bonded, friendships were formed and the relationships between artists and fans reached new levels of understanding due to their love for the festival and the absurdity of the circumstances.

Kamaiyah

Artists Stepping Up

Rain delays were rampant, and to the dismay of many, quite a few artists weren’t even able to perform. Weather issues beyond the festival’s control caused stages to flood and equipment to malfunction, but amidst the torrential downpour, a few notable MVPs came through big time.

On Saturday, during what will forever be remembered as the “Young Thugg Rain Delay,” Bay Area emcee Kamaiyah Johnson, who goes by her first name when performing, went head to head with Mother Nature for one of the most electrifying sets of the weekend. Spitting bars in between 40 mile-per-hour winds and drenched head to toe in a neon-green poncho, her flow was flawless even as she was being pelted in the face by heavy rain. Doing the Bay proud, she definitely earned some street cred in keeping the rain-soaked crowd happy and hyphy during the delay.

Tycho

Bailing out Another Planet twice, Bay Area superstar/TIMF lifesaver Tycho lessened one of the weekend’s harshest blows when he filled in for James Blak after Blake’s set was abruptly canceled on Sunday evening. Coming off a surprise show at The Independent the night before the fest officially kicked off, which in turn, was making up for Pantha du Prince’s last-minute cancellation, Scott Hansen was called upon again after his band’s live set on Sunday — this time to DJ during another set-debilitating downpour. The defeated crowd, even more upset by the unfortunate news that Blake would not be performing, looked as though it had suffered one final blow and could be overheard discussing whether or not to stick around for Sigur Rós’ headlining performance.

It looked like a gloomy surrender until out of nowhere, TIMF started sending out alerts via its social media channels that a surprise DJ set from Tycho would promptly start in Blake’s place. Probably the only artist who could alleviate the crushing blow of hearing that Blake’s set was canceled took the stage and quickly reinvigorated the crowd, motivating spectators to weather the storm with his ethereal beats.

James Blake’s “Redemption” Show

Monday morning hit like a ton of bricks, especially for anyone returning to work after the emotional rollercoaster that was TIMF. Still feeling the effects of the festival, many started off their week with a serious case of post-festival stress disorder. But just when we finally were ready to turn off any push notifications from the TIMF app, an alert delivered what easily was the best news of the entire weekend.

As a consolation for Blake’s canceled set, festival organizers announced he would be playing a makeup concert free to ticket holders that night at The Fox Theater Oakland. Sending social media into a flurry, Another Planet confirmed the news and even made tickets available for purchase to those who didn’t attend TIMF. Although many were skeptical about whether or not they’d be able to get in, those who made the effort were treated to a magical performance with a comfortably sized crowd.

Playing every song you would have hoped to hear at TIMF while being able to explain and subsequently show the crowd why his amazing new stage show would not have been able to survive the storm, Blake gave the crowd a performance to remember and extinguished any sedimentary frustrations left over from the mishaps that took place. The 28-year-old British singer-songwriter cleansed the crowd with a set full of beautiful, serene love songs as well as deep-house/1-800-Dinosaur cuts, making the show feel near-sacrosanct and giving us some serious festival redemption. He spoke candidly about the previous weekend’s circumstances, wooed the crowd with humorous antecdotes and even stopped the show at one point to make sure even the rowdiest audience members didn’t ruin the occasion.

THE BAD

• The unrelenting mayhem of Mother Nature’s first official storm of 2016

• The inability to bring an umbrella to comfortably handle the weather

• Artists being unable to perform (and their social media meltdowns that followed)

• Gripes and backlash from ticket buyers that spawned the hashtag #refundTIMF10

• A shortage of water at the festival’s refill stations

• The lack of cellphone reception and timely communication from TIMF organizers during Saturday’s storm

THE MUDDY

• Laying down a beautiful lawn that turned into a mud field by the end of the weekend

• The beautiful location of the pier for the Silent Disco and various vendors, yet due to high winds, was not accessible on Saturday and only available on Sunday

• The awesome bar and tent available for VIP ticket holders, which turned out to be the only cover from the storm throughout the festival grounds

• Selling disposable ponchos at the festival’s merchandise tent, only for them to sell out almost immediately

• The promise of a “rain or shine” festival without anticipating that the island would get consumed by a white squall

Treasure Island Music Festival 2016 - Neon Indian

Treasure Island Music Festival 2016 - Purity Ring

Treasure Island Music Festival 2016 - Sylvan Esso

Treasure Island Music Festival 2016 - How to Dress Well

Treasure Island Music Festival 2016 - Ice Cube

Treasure Island Music Festival 2016 - ZHU

Treasure Island Music Festival 2016 - Sigur Rós

Treasure Island Music Festival 2016 - Glass Animals

Filed Under: Editor's Picks, Featured, Festival Reviews, Festivals Tagged With: Glass Animals, How to Dress Well, Ice Cube, Kamaiyah, Neon Indian, Purity Ring, Sigur Ros, Sylvan Esso, TIMF, TIMF 2016, Treasure Island Music Festival, Treasure Island Music Festival 2016, Tycho, zhu

With a new album out, Tycho scratch a strong itch to surprise in front of a capacity crowd at The Fonda

October 12, 2016 by Josh Herwitt Leave a Comment

By Josh Herwitt //

Tycho //
The Fonda Theatre – Los Angeles
October 6th, 2016 //

It’s always inspiring when you see someone incorporate the skills they have developed over the years and apply them in new and different ways. For Scott Hansen, Tycho has been more than just a path to sonic exploration. While music remains at the forefront of Hansen’s vision, the project has served as a vehicle for his overall creative expression.

Before he became better known by his astronomical stage name, Hansen spent more than a decade working as a graphic designer, and his affinity for photography is no secret. For his photographic and design work, he operates under the moniker ISO50, and sometimes he’ll even include notes with his Instagram photos detailing the exact camera settings that were used (like in this one). The results — as you can see here, here and here, for instance — are incredibly beautiful and awe-inspiring for any young photographer. And in many ways, the music Hansen writes is just as pretty.

But it’s also worth mentioning that Hansen designs all of the art (including the album covers) for Tycho, often using geometric shapes like circles to represent such natural wonders as the sun that in turn serve as metaphors for life and the connection to the human experience. The live show similarly plays off these reoccurring themes, with a large video screen set up behind Hansen and his bandmates to reveal footage of nature, surfing and other subject matter that’s pleasing to the eye. In fact, as Hansen recently explained in his ISO50 blog, “the imagery tells a story that the music can’t fully articulate, and vice versa.”

It’s rare to find a musician who’s talented enough to create all of the music and artwork on his own, let alone one who can get the two to perfectly coincide with each other. Hansen, though, has managed to do this better than most, and he continues along that path with Tycho’s fifth studio album Epoch, which he unexpectedly dropped less than two weeks ago with no formal announcement. The 11-track LP and third Tycho album originally released on Michigan/New York record label Ghostly International picks up right where 2014’s Awake left off, combining the group’s signature ambient-techno sound with more post-rock flourishes than we’ve heard previously. It hasn’t peaked quite as high on the Billboard 200 chart yet, but there’s still plenty of time for Epoch to make up more ground in the weeks and months ahead.

For as much as Epoch was a surprise, so were Tycho’s two most recent shows in LA last week. It was the first time Hansen and company had played The Fonda Theatre since the Awake tour back in 2014 (read our review here), and Thursday’s sellout, which was announced less than a week before the show, along with the subsequent need to add a second date the next night, made it clear that more than ever, Angelenos have a strong appetite for what Hansen is doing on both a musical and visual level. It helps, too, that KCRW Music Director Jason Bentley, who opened the shows at The Fonda with a DJ set, has helped expose Tycho to a broader audience, whether through the “Morning Becomes Eclectic” theme song or live, in-studio performances by the band. Even nowadays with an abundance of streaming sites, you can’t underestimate the power of radio in a city with a driving culture as large as LA’s. And truth be told, Tycho is some of the best music to drive to, especially when you’re surrounded by nature.

When it came time to take the stage, the four-piece comprised of Hansen (synthesizers, guitar, bass, visuals, programming), Zac Brown (bass, guitar), Rory O’Connor (drums) and Billy Kim (bass, keyboards, synthesizers) didn’t waste any time diving into some material from Epoch, opening a 75-minute set with the album’s lead single “Division”. However, what might have been just as surprising as the album and show announcements themselves was the fact that of the 15 songs they played last Thursday, only one-third came from the new LP — and none were performed during the encore. With three critically acclaimed full lengths to draw from, Hansen has continued to evolve the live show, pulling equally from Dive and Awake and still including a couple tracks from 2006’s Past Is Prologue in crafting a setlist that covers all the bases. I suppose I should lay off the baseball analogies when describing one of Tycho’s latest performances, but we are in the month of October and Hansen, after years of hard work and dedication, has been playing in the big leagues for long enough now.

Setlist:
Division
Dive
PBS
Source
Past Is Prologue
Montana
Receiver
Epoch
Spectre
Horizon
A Walk

Encore:
Daydream
Hours
Awake

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: ISO50, Scott Hansen, The Fonda Theatre, Tycho

From club gigs to the Hollywood Bowl, Bloc Party close their U.S. tour with their largest show ever

October 10, 2016 by Josh Herwitt Leave a Comment

By Josh Herwitt //

Bloc Party with Bob Mould, Ezra Furman //
Hollywood Bowl – Los Angeles
September 25th, 2016 //

For those of us who attended college in the early 2000’s, Bloc Party were one of those bands that epitomized our most formative years. Back then, there weren’t many making music quite like the English quartet was, pioneering a sound rooted in indie rock, yet partially influenced by the surrounding UK electronic scene.

Now more than a decade after the release of their seminal debut LP Silent Alarm, Bloc Party are still going strong with Kele Okereke and Russell Lissack at the helm. The two Londoners have known each other for close to 20 years, and while each have their own projects outside of Bloc Party, what they’ve built together over five studio albums isn’t something to sneer at.

At the same time, it’s fair to say that the band’s last three records — 2008’s Intimacy, 2012’s Four and this year’s Hymns, which came out in January — haven’t struck a chord quite like Silent Alarm and A Weekend in the City both did. And with the departure of original band members Matt Tong and Gordon Moakes, it’s been on Okereke and Lissack to carry things forward while writing the group’s next chapter.

But even after all the commercial success they’ve had, what’s cool about Bloc Party is that they’re still playing big and small venues. This was no more evident than at the end of their latest U.S. tour, which saw them go from playing 1,000-person clubs like Mezzanine in San Francisco (see our photos from the show here) to headlining the one and only Hollywood Bowl with support from former Hüsker Dü leader Bob Mould and 30-year-old indie singer-songwriter Ezra Furman, who crossdressed to impress with a bright red one-piece, black stalkings and a pearl-like necklace.

It was the second time in two months that we were invited to cover a show at the legendary amphitheater (read about our first time here), and while Sufjan Stevens, Kurt Vile and The Violators, and Ibeyi provided a more compelling billing with quite a few more theatrics (at least on Stevens’ part), this one had its own unique storyline that made it special to witness. After all, it only seemed fitting that after playing small clubs and theaters amid a myriad of festival dates over the summer, Bloc Party were wrapping up a months-long tour with their largest crowd ever on hand. Don’t ask me what the attendance number was, but I think it’s fair to say the venue was no more than half full. Of course, thanks to LA’s new music festival Music Tastes Good taking place in downtown Long Beach over the same weekend, it wasn’t surprising to see the top two sections of the Bowl completely empty for the latest edition of KCRW’s second World Festival series. But that’s really just how big the Bowl is in size — and how big of an artist/band it takes to sell the place out on a Sunday night in late September.

Feeding off the raw energy of Mould’s punk-fueled set, Okereke (lead vocals, rhythm guitar, keyboards, sampler), Lissack (lead guitar, keyboards), Justin Harris (bass guitar, keyboards, saxophones, backing vocals) and Louise Bartle (drums, percussion) dove immediately into their newest material, following a setlist that closely resembled, yet didn’t match past ones from the tour. For as high as Hymns has charted all across Europe and Australia though, the strength of Bloc Party’s live show remains firmly grounded in their first two LPs. If anything, their Hollywood Bowl debut, highlighted by A Weekend in the City fan favorites “Song for Clay (Disappear Here)” and “Hunting for Witches” in addition to Silent Alarm classics “Helicopter” and “This Modern Love” during a five-song encore, brought back memories of what it felt like to hear those songs for the first time. I know they say you shouldn’t live in the past, but for a little more than an hour in the Hollywood Hills, Bloc Party made it feel OK to do just that.

Setlist:
Only He Can Heal Me
So Real
She’s Hearing Voices
Mercury
Song for Clay (Disappear Here)
Banquet
Two More Years
Different Drugs
Octopus
Hunting for Witches
Virtue
Positive Tension
The Love Within

Encore:
Stunt Queen
Flux
Helicopter
Ratchet
This Modern Love

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: Bloc Party, Bob Mould, Ezra Furman, Hollywood Bowl, Ibeyi, KCRW, KCRW's World Festival, Kurt Vile, Kurt Vile & The Violators, Kurt Vile and the Violators, Music Tastes Good, Sufjan Stevens

FOALS ignite a sold-out Fox Theater Oakland in their triumphant return to the Bay Area

October 4, 2016 by Molly Kish 1 Comment

Photos by Steve Carlson // Written by Molly Kish //

FOALS with Bear Hands, Kiev //
Fox Theater Oakland – Oakland
September 26th, 2016 //

English indie-rock giants FOALS kicked off the California leg of their 2016 tour with a sold-out show at the Fox Theater Oakland last Monday night. As the first of only two tour stops in The Golden State with support from Brooklyn’s Bear Hands and Orange County’s Kiev, the Oxford five-piece electrified the audience by running through a hard-hitting set of material from each of its four studio albums.

Highly anticipated, the show marked the first time FOALS have returned to the Bay Area since their powerhouse performance at Outside Lands (read our review here) back in August. One of the most notable sets over the festival’s three days, Bay Area fans welcomed the extremely talented outfit back with open arms and exuded the energy typically of a capacity crowd on a weekend night at The Fox.

Lead singer/guitarist Yannis Philippakis relished in excitement as he performed his signature stage dives that resulted in crowd surfing as well as vocal gymnastics. The band held nothing back, feeding off the crowd’s emotion with some inspired playing.

Following their Bay Area stop, FOALS headed down south for the second of their two California dates, playing the Hollywood Palladium with plenty of gusto (read our review here). We can’t wait for their return as they continue to climb even higher with each new album they release.

Setlist:
Prelude
Snake Oil
Olympic Airways
My Number
Providence
Give It All
Mountain at My Gates
Spanish Sahara
Red Socks Pugie
Late Night
A Knife in the Ocean
Inhaler

Encore:
What Went Down
Two Steps, Twice

Filed Under: Editor's Picks, Featured, Photos Tagged With: Bear Hands, FOALS, Fox Theater Oakland, Kiev

MainFest Alhambra throws an all-out dance party with Capital Cities, Miami Horror & !!! on the bill

September 23, 2016 by Jansen Granflor Leave a Comment

By Jansen Granflor //

MainFest Alhambra //
Downtown Alhambra – Alhambra, CA
September 10th, 2016 //

For its inaugural event this year, MainFest Alhambra shut down several blocks in downtown Alhambra, a city of less than 100,000 residents whose only affiliation with music before was being the hometown of Kenny Loggins and the scene of some sketchy Phil Spector behavior. That all changed when the initial teasers for MainFest dropped in July boasting Capital Cities, Miami Horror, and !!! (Chk Chk Chk) as headliners.

The MainFest lineup was subsequently finalized toward the end of August, with Nite-Jewel’s and Dam-Funk’s collaborative side project Nite-Funk added to the roster as well as a slew of local talent and DJ’s.

As maiden voyages go, getting around and into MainFest was a chore, with several security staff members sending festivalgoers in circles trying to find their way in. Once inside, guests were treated to free rock climbing, a live graffiti installation (with the back side serving as an open space for anyone to spraypaint) and an assortment of food/drink options, including food trucks and all the restaurants along Main Street.

Nite-Funk’s set was comprised of several tracks from their eponymous studio effort as well as singles from Nite-Jewel’s and Dam-Funk’s solo projects, making it easy to see why these two underground electronic artists have been teasing an EP since 2009.

!!!

Next up on the main stage was !!! (Chk Chk Chk), who have been creating their unique brand of upbeat dance-funk for almost two decades and without a doubt brought more energy than anyone else at MainFest. But if you have ever seen them live, you probably already knew that. Lead singer Nic Offer worked the crowd with his trademark aerobic gyrations, spending most of his time on top of the speaker cabinets and even wandering into the crowd for a song. Even though !!! have never reached the success of the acts who would follow them on the festival’s main stage, let’s hope they never slow down because they are just too much fun to watch live.

While the sun set, Australian indietronica band Miami Horror got the crowd moving and grooving with their nu-disco stylings. Lead singer Josh Moriarty shared vocal duties with Aaron Shanahan, each providing a contrasting style for the songs they fronted. Though a number of Miami Horror’s songs are somewhat slow for a dance act (in fact, one of their tracks is titled “Real Slow”), some of them (“Sometimes”, “Holidays”) can make the most introverted wallflowers cut up the dance floor.

Closing out the debut of MainFest was LA’s own Capital Cities, whose breakout single “Safe and Sound” has kept them busy touring ever since it was released, leaving Ryan Merchant’s and Sebu Simonian’s days of writing commercials and jingles together a thing of the past. Their debut album In a Tidal Wave of Mystery lived up to the hype that “Safe and Sound” promised, and at MainFest, they announced that their sophomore studio effort was near completion.

Capital Cities breezed through crowd favorites, from the bass-thumping “Origami” to the singalong-inducing “Kangaroo Court”, before performing the first of what appeared to be multiple renditions of “Safe and Sound”, culminating in an EDM club-ready version to close out the night. All in all, the City of Alhambra had to be pleased with what they accomplished for the very first MainFest, and considering Los Angeles has nearly 100 suburbs, you can’t help but imagine others will soon follow suit.

MainFest Alhambra - Capital Cities-18-capital-cities

Filed Under: Editor's Picks, Featured, Festival Reviews, Festivals Tagged With: Capital Cities, CHK CHK CHK, MainFest, MainFest Alhambra, MainFest Alhambra 2016, MainFest Los Angeles 2016, Miami Horror, Nite-Funk

Brainfeeder drops the funk on its Oakland brethren

September 22, 2016 by Molly Kish Leave a Comment

Photos by Marc Fong // Written by Molly Kish //

Brainfeeder at The Fox featuring Flying Lotus, Parliament-Funkadelic, Thundercat, Shabazz Palaces, The Gaslamp Killer //
Fox Theater Oakland – Oakland
September 15th, 2016 //

Last Thursday, the prolifically experimental, Los Angeles-based record label known as Brainfeeder took over the Fox Theater Oakland. Filling the venue with the brand’s diverse roster of talent and flavor, label founder and futuristic producer Flying Lotus headlined a massive lineup that included its latest acquisition, Parliament-Funkadelic, in addition to performances by Thundercat, Shabazz Palaces and The Gaslamp Killer.

The Gaslamp Killer ushered in the early arrivals with his signature sound of instrumental psychedelia, revving up the sold-out crowd with his visceral beats and transient energy. Shabazz Palaces followed in a somewhat uncharacteristically stripped-down set. Missing their usual visual art-infused stage production, the duo muted its typical abstract style and instead delivered a hard-hitting set that relied on Ishmael Butler’s (aka Palaceer Lazaro) and Tendai “Baba” Maraire’s intense vocals and percussion.

Subsequently, free-form jazz virtuoso Thundercat (born Stephen Bruner) took the stage and feverishly plucked his way through a comprehensive set of solo material and collaborative hits that he worked on with Flying Lotus and for Kendrick Lamar’s Grammy-winning album To Pimp a Butterfly last year.

Flying Lotus

Parliament-Funkadelic, who signed to Brainfeeder last month, elevated the funk vibes to their highest level before Flying Lotus’ headlining slot. To kick off the set, George Clinton threw the audience for an unexpected loop and shifted the mothership’s groove into uncharted territory with some unreleased, aggressively charged hip-hop. Though some longtime fans were put off by the new tracks, it did seem appropriate that the forefathers of the Afro-futuristic movement showed their penchant for pushing the envelope, especially in this particular context. But by the fourth song, P-Funk had returned to their signature sound before bringing out the entire Brainfeeder family to kick the show into hyperdrive and get fans on board for the galactic journey they were about to embark on.

The three-night Brainfeeder showcase, which included a stop at the Hollywood Bowl last weekend, was truly an experience to behold. Regardless of who you went to see, eyes were opened and brains were fed — so to speak — thanks to the sonic diversions that continue to make the label one of the most important players in shaping the future of music.

Brainfeeder at the Fox Theater Oakland - Shabazz Palaces

Brainfeeder at the Fox Theater Oakland - Thundercat

Brainfeeder at the Fox Theater Oakland - Parliament-Funkadelic

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: Brainfeeder, Flying Lotus, Fox Theater Oakland, Parliament-Funkadelic, Shabazz Palaces, The Gaslamp Killer, Thundercat

With confetti and fractals, Tame Impala blow minds at the Greek Theatre Berkeley

September 8, 2016 by Molly Kish 2 Comments

Photos by James Pawlish // Written by Molly Kish //

Tame Impala with Unknown Mortal Orchestra //
Greek Theatre – Berkeley, CA
September 3rd, 2016 //

Any time your photographer is told “try not to get your head blown off by the confetti canons” while shooting from the photo pit, you know you’re in for a great night. Yet, at the same time, associating that admonition with a couple of bands who describe their sound as “dadwave” or “epiphany pop” is something quite out of the ordinary.

Last weekend, the Greek Theatre Berkeley hosted back-to-back, sold-out nights with two of the biggest names in neo-psychedelic rock. With both bands paying homage to founders of the genre while paving the way for a new generation of psych-rock enthusiasts, opening act Unknown Mortal Orchestra and headliner Tame Impala blew the minds of those present as they each instilled a familiar, yet phantom sense of nostalgia, recalling an era and musical footnote way beyond the scope and lifespans of most in attendance.

At face value, the bill already had the promise of creating somewhat “heady” vibes and the subsequent anticipation of funk-infused guitar jams with orchestrated nods to the history of Bay Area psychedelia. Wasting no time after jumping onstage, Unknown Mortal Orchestra filled their late-afternoon set with crowd favorites and a spot-on cover of the Grateful Dead’s “Shakedown Street”. The four-piece briefly transported the crowd back to the summer of ’78 as the fog rolled in over a clear panorama of the Golden Gate Bridge and the California sun set in a twilight haze over the Greek, paving the way perfectly for Tame Impala to take the stage.

Unknown Mortal Orchestra

When I ran into our photographer (who gave us the aforementioned warning/spoiler alert) in between sets, it only further verified the collective excitement and anticipation that you could sense amongst the capacity crowd. Besides the pit dwellers, who were holding their ground and watching/cheering along to a solitary fan playing the “water bottle flip” game in the seats above, crowd members scrambled to get a spot for the main attraction. From Tame Impala’s set design, you could immediately tell that Kevin Parker and company had brought the same stage production that they showed off the weekend before in Los Angeles at FYF Fest.

By the third song (as promised), the sky, having just turned black, was filled with a stadium’s worth of rainbow confetti as the band played the opening chords of 2012’s psuedo love ballad “Mind Mischief”. Followed by a rare performance — only the second time in three years — of “Music to Walk Home By” from 2012’s Lonerism, Tame Impala played a wide range of emotive classics while scrambling the brains of more than 8,500 audience members with their intense onslaught of sensory-overloading imagery and hypnotic light show.

Kevin Parker of Tame Impala

Midway through their show, Tame Impala broke out into an elongated jam of the rare funk cut “Daffodils”, a Mark Ronson song off his 2015 solo LP Uptown Special that Parker contributed vocals on. They finished up strong, running through hit after hit from all three of their albums and wasting no time bantering between songs and instead, focusing on the sonic journey they were conducting over the spellbound crowd. As they ended their set with an encore featuring Lonerism single “It Feels Like We Only Go Backwards” and recent crossover hit “New Person, Same Old Mistakes” from Currents, fans collectively swayed and sang along to every lyric at the top of their lungs.

It’s hard to believe that only two years ago, these bands were headlining clubs and theaters throughout the Bay Area — and now, they have skyrocketed to a level of success that even Parker himself has had a hard time fathoming. After seeing how both bands commanded a sold-out crowd at one of the most legendary venues in Northern California though, I doubt there will be any slowing down from them in their near future.

As I left the Greek with my friends, we talked about how many millennials will likely look back on both bands as their modern-day Pink Floyd or their The Smile Sessions-era Beach Boys. And for a second, I felt comforted by that idea. If Tame Impala and Unknown Mortal Orchestra are the ones who will be carrying that torch, I look forward to seeing how they further that flame.

Setlist:
Nangs
Let It Happen
Mind Mischief
Music to Walk Home By (partial)
Why Won’t You Make Up Your Mind?
Why Won’t They Talk to Me?
The Moment
Elephant
The Less I Know the Better
Daffodils (Mark Ronson cover)
Eventually
Yes I’m Changing
Alter Ego
Oscilly
It Is Not Meant to Be
Apocalypse Dreams